The Architectural Review 1955-12: Vol 118 Iss 708

The Architectural Review December 1955

Time-Life International.

>F

The Time and Life Building in New Bond Street is the main European Headquarters of

It was designed by Michael Rosenauer, F.R.1.B.A.; and Sir

Hugh Casson, R.D.1., M.A., F.R.I.B.A., F.S.LA., was the co-ordinating designer for the
interior. The building has an oil-fired heating system consisting of three boilers, two for
central heating, one for domestic hot water, with a combined capacity of four million Btu/hr.

THE LATEST IN DESIGN-AND COMFORT

London’s Time & Life Building has Oil-fired heating

NEWLY-ESTABLISHED landmark in
London is the Time and Life
Building on the corner of New Bond
Street and Bruton Street. This seven-
storey building is the main European
Headquarters of Time-Life Inter-
national. The architecture, the in-
terior decorations and the furnishings
are all of the most modern design,
and the building is one of the most
comfortable to work in—because it
has an oil-fired heating system. This
quickly warms up the whole building

and keeps it at any desired tempera-
ture for as long as is required.
This kind of heating system is
simplicity itself to operate. There
is no stoking to be done. No ash
to clear out. And maintenance
takes little more than a few minutes
every few weeks. Also oil is a
clean-burning fuel and does not
contribute to London’s smog.
Flexibility, ease of operation, sav-
ing of labour—these are all outstand-
ing features of this most efficient
form of space and water heating.

Nor is it extravagant. When you
are going to install or modify a
heating system in any public building,
office block or factory, school or
hospital—or, even, in any largish
private house—you may find it well
worth your while to make provision
for oil-firing. If you would like any
detailed information of a technical
nature, please write to Shell-Mex
and B.P. Ltd., Fuel Oil Dept. 25G,
Shell-Mex House, Strand, London,
W.C.2. This will, of course, place
you under no obligation.

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The Architectural Review December 1955

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THE ARCHITECTURAL REVIEW

The Cover honours Registered Trade Mark No.
1—the red triangle of Bass—on its centenary.
In Brian Spiller’s article on pp. 372-381 the back-
ground to such brewers’ marks of the nineteenth
century is described, together with the subsequent
vicissitudes of the house styles created in that
period of commercial vigour. The false genteelism
which has succeeded that golden age will only be
extirpated from the pubs of Britain when the
true nature of the Victorian pub tradition has been
understood, and a new vernacular established
which shall be as vigorous, bold and popular as
the old.

351
352
354
355

Marginalia
Letters
Frontispiece

The New Brutalism by Reyner

Banham As Britain’s first native art-
movement since the systematic study of art-
history reached these islands, the New
Brutalism needs to be seen in a double
historical context—that of post-war archi-
tectural thought, and that of post-war
historical writings on architecture. In fact,
as Mr. Banham shows, these two contexts
are inseparable as far as the New Brutalism
is concerned, and historical considerations
played a part not only in forming the
Brutalists mental attitudes, but even the name
by which they are known. From a generalized
usage in post-war architectural polemics the
term New Brutalism has narrowed its
meaning, and is now generally taken to
apply, properly, to the work of Alison and
Peter Smithson, and Louis Kahn in archi-
tecture, and from an examination of their
buildings and designs, and work of other
artists with whom they have been associated,
it is possible to identify the main characteris-
tics of Brutalist architecture. These are
found to be a strongly moralistic attitude to
structure, in its widest sense, and materials,
in their crudest sense, coupled with a desire
to render every building a memorable
visual image. The insistence on ‘Image,’ and
the special meaning which this word has
in Brutalist circles, is the key not only to
Brutalist architecture, but also to its con-
nections with the New Brutalism in other
arts as well, and links it, in Mr. Banham’s
view, with a general body of anti-Academic
thought, in aesthetics and in such other
spheres as topology which, he suggests,
replaces geometry in some New Brutalist
works just as Image replaces Beauty in them.

J. M. Richards

Directing Nikolaus Pevsner

Editors H. de C. Hastings
Hugh Casson
Executive
Editor Ian McCallum
Art
Editor Gordon Cullen
Assistant
Editors production, Ian Nairn.

research, S. Lang. literary, Reyner Ban-
ham. Editorial Secretary . . Whi 0611-9

448

362

368

372

382

388

House in Yorkshire: Architect, Peter
Womersley

House at Leicester: Architects, James
Cubitt and Partners

Brewers’ House Styles by Brian
Spiller The rise of the tied house—a pub
operated by a brewing firm and selling only
that firm’s products—was the outcome of a
minor industrial revolution which was also
a pilot exercise for contemporary marketing
techniques. By the end of the 1880's most
urban pubs were owned by breweries, but
the ownership was still of sufficiently recent
date for the brewers to wish to set some seal
of competitive proprietorship on their
houses, and they contributed to the Victorian
golden age of commercial design with sign-
making and sign-writing, lettering, glazing
and advertising techniques generally, though
few brewers set out to establish an archi-
tectural house-style as well, and even nowa-
days the idea of any kind of trade-mark
structure still seems definitely at a discount.
The Brewer still establishes his style by his
advertising material—but, as the illustra-
tions to this article show, that style is apt to
become gutless, coy and falsely genteel. A
few noble survivals, like the Bass triangle
and the Guinness harp, stand out against
the drab background of a trade that seems
to have lost its nerve in design almost
completely. As Mr. Spiller points out,
there may be good and complicated reasons
—connected with finance and _§sales-
psychology—for the preservation of a
certain familiar disorder in the design of
pub equipment, but these do not enforce
the flabby ‘good taste’ which is so common
—rather, they could be the pretext of a
vigorous and varied vernacular.

Recent Work by Luccichenti and
Monaco

Horta by Stephan Tschudi Madsen The
problem of Art Nouveau as a working style—
quite apart from its sources and origins—is
largely bound up with the early works of
Victor Horta, his training and the mental
climate in which his undoubted genius was
formed. The Academies of Ghent and
Brussels, and a stay in Paris, encompassed
his formal training, and were followed by
entry into the office of Alphonse Balat, a
classicist in a stylistic situation which also
included neo-Gothic, neo-Baroque, neo-
Renaissance and—most important of all—
an attempt to find or invent a new national
style. This attempt, incarnate in the Société
Centrale d’Architecture de Belgique, was
marked by a pioneering interest in structure
and engineering—both of which were to
reappear in Horta’s characteristic Art
Nouveau buildings. However his earliest
houses were of a simplified classical aspect,
which apparently dissatisfied him, and in
the interval of eight years between their
completion and his emergence as a fully
developed architect in 1893, he is known to
have studied organic form and flowers—
perhaps at the instance of Viollet-le-Duc’s
writings, which could also have inspired the
use of exposed iron construction in the
building which established his matured

393

407

411

412

418

The
1923

Number December

genius, the house in the Rue de Turin,
Mr. Madsen examines the stylistic qualities of
this first complete manifestation of Art
Nouveau in detail, and scrutinizes them
for possible sources. Though British develop-
ments immediately suggest themselves, the
evidence for them is not conclusive, and
a better case can be made for the influence of
Gauguin and his circle, through the Belgian
artistic society known as Les XX, and of
painters like Khnopff and Toorop. Horta
continued to use his full Art Nouveau idiom
only until a little after 1900, and from then
on his work becomes simpler and less
exaggerated.

Miscellany

Current Architecture
Skill: Interiors

Showrooms in Hackney Road, E.2:
Designer, Clive Latimer

Showrooms in Victoria 8t., 8.W.1:
Designer, Misha Black

Showrooms in New Bond 8&t., W.1:
Architects, Ebbe and Andresen

Design Review

Techniques: Architect/Manufacturer
Co-operation III by Noel Moffett

The Industry 420 Contractors, etc.

Authors: Stephan Tschudi Madsen. Borr:
in Norway. Educated at Oslo University

(M.A. in Art History) and the Sorbonne. Curator
of Oslo National Gallery 1950-2; study abroad
1952-4, lecturer at Oslo University since 1954.
Articles and books in Norwegian, also a book on
the sources of Art Nouveau, to appear in English
early next year. Brian Spiller: born in Belfast 1917;
read German at University College, London, served
1939-46, ist Gurkha Rifles and Staff Intelligence;
edits A Monthly Bulletin, a midget magazine con-
cerned with the problems, administrative, social
and aesthetic, set by pubs.

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THE

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ARCHITECTURAL

REVIEW

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SHILLINGS

Al
Editors Only
394 History
395 World
396 Wallscape
396 Exhibitions
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398 Lettering
400 Landscape as
401 Books
403
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carat

In the chapel of Notre Dame du Haut at Ronchamp,
Le Corbusier is generally felt to have achieved one of the
most personal and surprising buildings of his career. In
the first flurry of excitement at its unexpected forms,
consternation has been expressed at the way a master of
logical structure has set his great curving roof apparently
afloat above the apexes of the massive and perforated
walis—the narrow glazed gap between roof and walls can
be seen in the exterior views opposite . Maturer
consideration will be able to evaluate how far the
success of the plastic effect justifies such anti-structural
usages and, as a step toward such evaluation, James
Stirling will contribute an appreciation of Notre Dame
du Haut in the new year.

Reyner Banham

THE NEW BRUTALISM

‘L’ Architecture, c’est, avec des matiéres bruts, établir des rapports émouvants.’ Le Corbusier: Vers une Architecture.

Introduce an observer into any field of forces, influences or communications and that
field becomes distorted. It is common opinion that Das Kapital has played old harry
with capitalism, so that Marxists can hardly recognize it when they see it, and the wide-
spread diffusion of Freud’s ideas has wrought such havoc with clinical psychology that
any intelligent patient can make a nervous wreck of his analyst, What has been the
influence of contemporary architectural historians on the history of contemporary
architecture?

They have created the idea of a Modern Movement—this was known even before
Basil Taylor took up arms against false historicism—and beyond that they have offered
a rough classification of the ‘isms’ which are the thumb-print of Modernity into two
main types: One, like Cubism, is a label, a recognition tag, applied by critics and
historians to a body of work which appears to have certain consistent principles running
through it, whatever the relationship of the artists; the other, like Futurism, is a banner,
a slogan, a policy consciously adopted by a group of artists, whatever the apparent
similarity or dissimilarity of their products. And it is entirely characteristic of the New
Brutalism—our first native art-movement since the New Art-History arrived here—that
it should confound these categories and belong to both at once.

Is Art-History to blame for this? Not in any obvious way, but in practically every
other way. One cannot begin to study the New Brutalism without realizing how deeply
the New Art-History has bitten into progressive English architectural thought, mto
teaching methods, into the common language of communication between architects and
: between. architectural critics. What is interesting about R. Furneaux Jordan’s parthian -

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Reyner Banham: THE NEW BRUTALISM

footnote on the New Brutalism—*‘. . . Lubetkin talks across time to the great masters,
the Smithsons talk only to each other’—is not the fact that it is nearly true, and thus
ruins his argument, but that its terms of valuation are historical. The New Brutalism
has to be seen against the background of the recent history of history, and, in particular,
the growing sense of the inner history of the Modern Movement itself.

The history of the phrase itself is revealing. Its
form is clearly derived from THE ARCHITECTURAL
REVIEW'S post-war trouvaille ‘The New Empiricism,’
a term which was intended to describe visible
tendencies in Scandinavian architecture to diverge
from another historical concept ‘The International
Style.’ This usage, like any involving the word new,
opens up an historical perspective. It postulates that
an old empiricism can be identified by the historian,
and that the new one can be distinguished from it
by methods of historical comparison, which will
also distinguish it from a mere ‘Empirical Revival.’
The ability to deal with such fine shades of historical
meaning is in itself a measure of our handiness with
the historical method today, and the use of phrases
of the form ‘The New X-ism’—where X equals any
adjectival root—became commonplace in the early
nineteen-fifties in fourth-year studios and other
places where architecture is discussed, rather than
practised.

The passion of such discussion has been greatly en-
hanced by the clarity of its polarization—Communists
versus the Rest—and it was somewhere in this vigorous
polemic that the term ‘The New Brutalism’ was first
coined.! It was, in the beginning, a term of Communist
abuse, and it was intended to signify the normal vocabu-
lary of Modern Architecture—flat roofs, glass, exposed
structure—considered as morally reprehensible devia-
tions from ‘The New Humanism,’ a phrase which
means something different in Marxist hands to the
meaning which might be expected. The New
Humanism meant, in architecture at that time,
brickwork, segmental arches, pitched roofs, small
windows (or small panes at any rate)—picturesque
detailing without picturesque planning. It was, in
fact, the so-called ‘William Morris Revival,’ now
happily defunct, since Kruschev’s reversal of the
Party’s architectural line, though this reversal has,
of course, taken the guts out of subsequent

olemics. But it will be observed that The New

umanism was again a quasi-historical concept,
oriented, however spuriously, toward that mid-nine-
teenth century epoch which was Marxism’s Golden
Age, when you could recognize a capitalist when you
met him.

However, London architectural circles are a small
field in which to conduct a polemic of any kind, and
abuse must be directed at specific persons, rather
than classes of persons, since there was rarely enough
unanimity (except among Marxists) to allow a class
to coalesce. The New Brutalists at whom Marxist
spite was directed could be named and recognized—

? There is a persistent belief that the word Brutalism (or something like it)
had appeared in the English Summaries in an issue of -Mastaren published
late in 1950. The reference cannot now be traced, the story must be
relegated to that limbo of Modern Movement demonology where Swedes,
Communists and the Town and Country Planning Association are bracketed
together as different isotopes of the common ‘ Adversary.”

and so could their friends in other arts. The
term had no sooner got into public circulation
than its meaning began to narrow. Among the
non-Marxist grouping there was no _ particular
unity of programme or intention, but there was a
certain community of interests, a tendency to look
toward Le Corbusier, and to be aware of something
called le beton brut, to know the quotation which
appears at the head of this article and, in the case
of the more sophisticated and aesthetically literate,
to know of the Art Brut of Jean Dubuffet and his
connection in Paris. Words and ideas, personalities
and discontents chimed together and in a matter of
weeks—long before the Third Programme and the
monthlies had got hold of the phrase—it had been
rs pe as their own, by their own desire and
ublic consent, by two young architects, Alison and
eter Smithson.

The phrase had thus changed both its meaning and
its usage. Adopted as something. between a slogan
and a brick-bat flung in the public’s face, The New
Brutalism ceased to be a label descriptive of a tendency
common to most modern architecture, and became
instead a programme, a banner, while retaining
some—trather restricted—sense as a descriptive label.
It is because it is both kinds of -ism at once that The
New Brutalism eludes precise description, while
remaining a living force in contemporary British
architecture.

As a descriptive label it has two overlapping, but
not identical, senses. Non-architecturally it describes
the art of Dubuffet, some aspects of Jackson Pollock
and of Appel, and the burlap paintings of Alberto
Burri—among foreign artists—and, say, Magda
Cordell or Edouardo Paolozzi and Nigel Henderson
armong English artists. With these last two, the
Smithsons collected and hung the I.C.A. exhibition
Parallel of Life and Art, which, though it probably pre-
ceded the coining of the phrase, is nevertheless regarded
as a locus classicus of the movement. The more
instructive aspects of this exhibition will be con-
sidered later: for the moment let us observe that many
critics (and students at the Architectural Association)
complained of the deliberate flouting of the traditional
concepts of photographic of a cult of ugliness,
and ‘denying the spiritual in Man.’ The tone of re-
sponse to The New Brutalism existed even before
hostile critics knew what to call it, and there was an
awareness that the Smithsons were headed in a
different direction to most other younger architects
in London.

Alison Smithson first claimed the words in public
as her own in a description of a project for a small
house in Soho (Architectural Design, November, 1958)
designed before the phrase existed, and previously
tagged ‘The warehouse aesthetic’—a very fair descrip-

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The Architectural Review, December 1955

tion of what The New Brutalism stood for in its first

hase. Of this house, she wrote: ‘. . . had this been
Puilt, it would have been the first exponent of the
New. Brutalism in England, as the preamble to the
specification shows: “It is our intention in this
building to have the structure exposed entirely,
without interior finishes wherever practicable. The
contractor should aim at a high standard of basic
construction, as in a small warehouse’’.’ The publica-
tion of this project led to an extensive and often
hilarious correspondence in various periodicals through
the summer of 1954, a correspondence which wandered
further and further from its original point because
most writers were in fact discussing either the
exhibition Parallel of Life and Art, or the (as yet)
unpublished school at Hunstanton. When this was
finally published (AR, September, 1954) the dis-
cussion took a sharper and less humorous tone, for
here in three-dimensional and photographic reality,
and in the classic Modern Movement materials of
concrete, steel and glass, was the Smithsons’ only
completed building. The phrase The New Brutalism
was immediately applied to it, though it had been
designed in the spring of 1950, long before even the
house in Soho, but the Brutalists themselves have
accepted this appellation, and it has become the
tag for Hunstanton wherever the building has been
discussed.

Hunstanton, and the house in Soho, can serve as
the points of architectural reference by which The
New Brutalism in architecture may be defined.
What are the visible and identifiable characteristics
of these two structures? Both have formal, axial

lans—Hunstanton, in fact, has something like true
Pi-axial symmetry, and the small Gymnasium block
alongside the school is a kind of exemplar in little
of just how formal the complete scheme was to
have been—and this formality is immediately legible
from without. Both exhibit their basic structure, and
both make a point of exhibiting their materials—in
fact, this pea ear on basic structure is so obsessive
that many superficial critics have taken this to be the
whole of New Brutalist Architecture. Admittedly,
this emphasis on basic structure is important, even
if it is not the whole story, and what: has caused
Hunstanton to lodge in the public’s gullet is the fact
that it is almost unique among modern buildings in
being made of what it appears to be made of. Whatever
has been said about honest use of materials, most
modern buildings appear to be made of whitewash
or patent glazing, even when they are made of
concrete or steel. Hunstanton appears to be made of
glass, brick, steel and concrete, and is in fact made of
glass, brick, steel and concrete. Water and electricit
do not come out of unexplained holes in the wall,
but are delivered to the point of use by visible pipes
and manifest conduits. One can see what Hunstanton
is made of, and how it works, and there is not another
thing to see except the play of spaces.

This ruthless adherence to one of the basic moral
imperatives of the Modern Movement—honesty in
structure and material—has precipitated a situation
to which only the pen of Ibsen could do justice. The
mass of moderate architects, hommes moyens sensuels,
have found their accepted practices for waiving the

857

requirements of the’ conseience-code suddenly ‘called
in question; they have been put rudély on the spot,
and they have not liked the experience: Of ‘course; it
is not just the building itself which ‘has precipitated
this situation, it is the things the: Brutalists: Rave
said and done as well, but, as with the infected’ Spa
in An Enemy of the People, the: play of pereonelice
focuses around a physical object:

The qualities of that object may be summarized as
follows: 1, Formal legibility of plan; 2, clear exhibition
of structure, and 8; valuation of materials for their
inherent qualities ‘as found.’ This summary can’ be
used to answer the question: Are there other New
Brutalist buildings besides Hunstanton? It is interest-
ing to note that such a summary of qualities could be
made to describe Marseilles, Promontory and Lake- .
shore apartments, General Motors Technical: Centre,
much recent Dutch work and several projects by
younger English architects affiliated: to CIAM. But,
with the possible exception of Marseilles, the Brutal-
ists would probably reject most of these buildings
from the canon, and so must we, for all of these
structures exhibit an excess of suaviter in modo,
even if there is plenty of fortiter in re about them,
In the last resort what characterizes the New
Brutalism in architecture as in painting is precisely its
brutality, its je-m’en-foutisme, its bloody-mindedness.
Only one other building conspicuously carries these
qualities in the way that Hunstanton does, and that
is Louis Kahn’s Yale Art Centre. Here is a building
which is uncompromisingly frank about its materials,
which is inconceivable apart from its boldly exhibited
structural method which—being aconcretespace-frame
—is as revolutionary and unconventional as the use of
the Plastic Theory in stressing Hunstanton’s’ steel
H-framés. Furthermore, the plan is very formal in
the disposition of its main elements, and makes a
kind of symmetry about two clearly defined: axes at
right. angles to one another. And this is a: building

which some Brutalists can apparently accept as a
condiitnens New Brutalist structure.

But, with all due diffidence, the present aittioise
submits that it still does not quite answer ‘to the
standard set’ by Hunstanton. For one thing, ‘the
Smithsons’ work is characterized by an abstemious
under-designing of the details, and much’ of the
impact of the building comes from the ineloquence,
but: absolute consistency, of such components as
the stairs and handrails. By comparison; Kahn’s
detailing is arty, and the stair-rail and balustrading
(if that is the word for stainless netting) is jarringly
out of key with the rough-shuttered concrete of the
main structure. This may be ‘only a’ matter’ of
detailing’ but there is another short-fall about: Yale
Art Centre which could not be brushed off so ‘easily.
Every Smithson design has been, obviously or subtly,
a coherent and apprehensible visual entity, but this
Louis Kahn’s design narrowly fails to be. The internal
spaces will be cluttered with display screens which,
in the nature of his programme and his’ solution of it,
must be susceptible of being moved, ‘so that formal
clarity is always threatened. But beyond this the
relation of interior to exterior fails to: validate the
axes which govern the plan. Available gH igen the
placing of the entrances, the handling of the exterior

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walls—all tend to lose or play down the presence of
planning axes. No doubt there are excellent functional
reasons for the doors being where they are, end
excellent structural reasons for the walls being treated
in the way they are—but if these reasons were so
compelling, why bother with an axial plan anyhow?

This is a hard thing to have to say about a seriously
considered building by a reputable architect of some
standing, but contact with Brutalist architecture
tends to drive one to hard judgements, and the one
thing of which the Smithsons have never been accused
is a lack of logic or consistency in thinking through a
design. In fact it is the ruthless logic more than
anything else which most hostile critics find distressing
about Hunstanton—or perhaps it is the fact that this
logic is worn on the sleeve. One of the reasons for
this obtrusive logic is that it contributes to the

Loc py: Same coherence of the building as a
visual entity, use it contributes to the building
as ‘an image.’

An Image—with the utterance of these two words
we bridge the gap between the possible use of The
New Brutalism as a descriptive label covering, in
varying degrees of accuracy, two or more buildings,
and The New Brutalism as a slogan, and we also go
some way to bridge the gap between the meaning of
the as applied to its i
as applied to painting sculpture. The word %
in this sense iG aes of the most intractable aul the
most useful terms in contemporary aesthetics, and
some attempt to explain it must be made.

A great many things have been called ‘an image’—
S. M. della Consolazione at Todi, a painting b x vee
son Pollock, the Lever Building, the 1954 ac
convertible, the roofscape of the Unité at Marseilles,
any of the hundred photographs in Parallel of Life
and Art. ‘Image’ seems to be a word that describes
anything or nothing. Ultimately, however, it means
something which is visually valuable, but not neces-
sarily by the standards of classical aesthetics. Where
Thomas Aquinas supposed beauty to be quod visum
placet (that which seen, pleases),? image may be
defined as quod visum perturbat—that which. seen,
affects the emotions, a situation which could subsume
the pleasure caused by beauty, but is not normally
taken to do so, for the New Brutalists’ interests in
image are commonly regarded, by many of themselves
as well as their critics, as being anti-art, or at any rate
anti-beauty in the classical aesthetic sense of the word.
But what is equally as important as Ni ga kind
of response, is the nature of its cause. at pleased

St. Thomas was an abstract quality, beauty—what .

moves a New Brutalist is the thi
totality, and with all its overtones of human associa-
tion. These ideas of course lie close to the general
body of anti-Academic aesthetics currently in circula-
tion, though they are not to be identified exactly
with Michel Tapié’s concept of un Art Autre,? even
though that concept covers many Continental Brutal-

ing Summa Theologica II (i) xxvii,
rendered into as ‘. .. but that whose very apprehension pleases

* See his book of the same name, published in 10952. A closely analogous
in a manner which resembles the manipulation of some of the
in Parallel, and does not concern itself with harmony or melody in any recog-
way.

itself, in its

Reyner Banham: THE NEW BRUTALISM

ists as well as Edouardo Paoiozzi.

Nevertheless this concept of Image is common to
all aspects of The New Brutalism in England, but the
manner in which it works out in architectural practice
has some surprising twists to it. Basically, it requires
that the building should be an immediately appre-
hensible visual entity, and that the form grasped by
the eye should be confirmed by experience of the
building in use. Further, that this form should be
entirely proper to the functions and materials of the
building, in their entirety. Such a relationship between
structure, function and form is the basic common-
place of all good building of course, the demand that
this form should be apprehensible and memorable
is the apical uncommonplace which makes good
building into great architecture. The fact that this
form-giving obligation has been so far forgotten that a

‘great deal of good building can be spoken of as if it

were architecture, is a mark of a seriously decayed
condition in English architectural standards. It has
become too easy to get away with the assumption
that if structure and function are served then the
result must be architecture—so easy that the mean-
ingless phrase ‘the conceptual building’ has been
coined to defend the substandard architectural

ractices of the routine-functionalists, as if ‘conceptual

uildings’ were something new, and something faintly
reprehensible in modern architecture.

All great architecture has been ‘conceptual,’ has
been image-making—and the idea that any great
buildings, such as the Gothic Cathedrals, grew un-
consciously through anonymous collaborative atten-
tion to structure and function is one of the most
insidious myths with which the Modern Movement
is saddled. Every great building of the Modern
Movement has been a conceptual design, especially
those like the Bauhaus, which go out of their way
to look as if they were the products of ‘pure’
functionalism, whose aformal compositions are com-
monly advanced by routine-functionalists in uefence
of their own abdication of architectural responsibility.
But a conceptual building is as likely to be aformal
as it is to be formal, as a study of the Smithsons’
post-Hunstanton projects will show.

Eunstanton’s formality is unmistakably Miesian,
as Philip Johnson pointed out, possibly because IIT
was one of the few recent examples of conceptual,
form-giving design to which a young architect could
turn at the time of its conception, and the formality
of their Coventry Cathedral competition entry is equally
marked, but here one can safely posit the interference
of historical studies again, for, though the exact
priority of date as between the Smithsons’ design
and the publication of Professor Wittkower’s Archi-
tectural Principles of the Age of Humanism is disputed
(by the Smithsons) it cannot be denied that they were
in touch with Wittkowerian studies at the time,
and were as excited by them as anybody else.

The general impact of Professor Wittkower’s book
on a whole generation of post-war architectural
students is one of the phenomena of our time. Its
exposition of a body of architectural theory in which
function and form were significantly linked by the
objective laws governing the Cosmos (as Alberti
and Palladio understood them) suddenly offered a

[continued on page 36!
358

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Painting, 1953—a-formal composition in action.

NEW BRUTALISM

Painting on burlap—typically Brutalist
in his attitude to materials, Burri accords
the burlap the same visual value as the
paint it carries.

henderson

‘

Sgraffiti on a Window (photograph)—image of human as well as formal value.

cordell

Parallel of Life and Art—exhibition of 100 Brutalist images.

SOUTH FACADE

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(222722

BASEMENT

GROURO FLOOR

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Head, 1953—‘sophisticated primitivism.’

The first building to be categorized as
Brutalist, this project for a house in Soho
(A. & P. Smithson) exhibits not only the
emphasis on materials and structure, but

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FLOOR aw FLOOR

also the compositional formality of early
Brutalism.

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B59 FT School at Hunstanton (A. & P. Smithson), first completed New Brutalist building, view toward gymnasium. a) os

Golden Lane re-development project, shows Smithsons ti ning
against geometry and formality, placing increased visu: em-
phasis on site, circulation, habitation and human pre nee,

® Yale Art Centre (architects: Kahn and Orr)—for-
mality, expressed structure, exposed materials; the
most truly Brutalist building in the New World.

HTT Sheffield University extensions (competition entry by A. & P.

: Smithson)—furthest development of New Brutalist architect ire

T toward the completely a-formal, anti-geometric, yet systenv tic

services, connect the main entrance, under 1, with the £18
dept., 3, Senate House, 2, and other buildings on site.

¥
he ig . Coventry Cathedral competition entry (A. & P. Smithson) dramatic visual image created by spectacular structure, raised on a plan of Neo-Palladian symmetry—their last formal plan, 1951. '
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The Architectural Review, December 1955

continued from page 358]

way out of the doldrum. of routine-functionalist
abdications, and neo-Palladianism became the order
of the day. The effect of Architectural Principles has
made it by far the most important contribution—for
evil as well as good—by any historian to English
Architecture since Pioneers of the Modern Movement,
and it ges senate a nice disputation on the proper
uses of history. The question became: Humanist
principles to be followed? or Humanist principles
as an example of the kind of principles to look for?
Many students opted for the former alternative,
and Routine-Palladians soon became as thick on
the ground as Routine-Functionalists. The Brutalists,
observing the inherent risk of a return to pure
academicism—more pronounced at Liverpool than
at the AA—sheered off abruptly in the other direction
and were soon involved in the organization of Parailel
of Life and Art.

Introducing this exhibition to an AA student
debate Peter Smithson declared: ‘We are not going
to talk about proportion and symmetry’ and this
was his declaration of war on the inherent academi-
cism of the neo-Palladians, and the anti-Brutalist
section of the house made it clear how justified was
this suspicion of erypto-academicism by taking their
stand not only on Palladio and Alberti but also
on Plato and the Absolute. The new direction in
Brutalist architectural invention showed at once in
the Smithsons’ Golden Lane and Sheffield University
competition entries. The former, only remembered for
having put the idea of the street-deck back in circula-
tion in England, is notable for its determination to
create a coherent visual image by non-formal means,
emphasizing visible circulation, identifiable units of
habitation, and fully validating the presence of
human beings as part of the total image—the per-
spectives had photographs of people pasted on to the

awings, so that the human presence almost over-
whelmed the architecture.

: But the Sheffield design went further even than
this—and aformalism becomes as positive a force
in its composition as it does in a painting by Burri
or Pollock. Composition might seem pretty strong
language for so apparently casual a layout, but this
is clearly not an ‘unconceptual’ design, and on
examination it can be shown to have a composition,
but based not on the elementary rule-and-compass
geometry which underlies most architectural com-
position, so much as an intuitive sense of topology.
As a discipline of architecture topology has always
been present in a subordinate and unrecognized way—
qualities of penetration, circulation, inside and out,
have always been important, but elementary Platonic
metry has been the master discipline. Now, in the
mithsons’ Sheffield project the roles are reversed,
topology becomes the dominant and geometry becomes

861

the subordinate discipline. The ‘connectivity’ of the
circulation routes is flourished on the exterior and no
attempt is made to give a geometrical form to the
total scheme; large blocks of topologieally similar
spaces stand about the site with the same graceless
memorability as martello towers or pit-head gear.

Such a dominance accorded to topology—in whose
classifications a brick is the same ‘shape’ as ®&
billiard ball (unpenetrated solid) and a teacup is the
same ‘shape’ as a gramophone record (continuous
surface with one hole) is clearly analogous to the
displacement of Tomistic ‘beauty’ by Brutalist
‘Image, ’* and Sheffield remains the most consistent
and extreme point reached by any Brutalists in their
search for Une Architecture Autre. It is not likely te
displace Hunstanton in architectural discussions as the
prime exemplar of The New Brutalism, but it is the
only building-design which fully matches up to the
threat and promise of Parallel of Life and Art.

And it shows that the formal axiality of Hunstanton
is not integral to New Brutalist architecture. Miesian
or Wittkowerian geometry was only an ad hoe device
for the realization of ‘Images,’ and when Parallel o
Life and Art had enabled Brutalists to define their
relationship to the visual world in terms of somethi
other than geometry, then formality was discaedied,
The definition of a New Brutalist building derived
from Hunstanton and Yale Art Centre, above, must
be modified so as to exclude formality as a basic
quality if it is to cover future developments and
should more properly read: 1, Memorability as an
Image; 2, Clear exhibition of Structure; and 8,
Valuation of Materials ‘as found.’ Remembering that
an Image is what affects the emotions, that structure,
in its fullest sense, is the relationship of parts, and that
materials ‘as found’ are raw materials, we have
worked our way back to the quotation which headed
this article ‘L’ Architecture, c’est, avec des Matiéres
Bruts, établir des rapports émouvants,’ but we have
worked our way to this point through such an aware-
ness of history and its uses that we see that The New
Brutalism, if it is architecture in the grand sense of Le
Corbusier’s definition, is also architecture of our time —
and not of his, nor of Lubetkin’s, nor of the times of
the Masters of the past. Even if it were true that
the Brutalists speak only to one another, the fact
that they have stopped speaking to Mansart, to
Palladio and to Alberti would make The New
Brutalism, even in its more private sense, a major
contribution to the architecture of today.

‘This analogy could probably be rendered epistemologically strict—both
beauty and geometry, hitherto regarded as ultimate properties of the cosmos,
now appear as linguistically refined special cases of more gene: concepts
—image and topology—which, though essentially primitive, have been
reached only through immense sophistication. Once this state of sophistica-
tion has been achieved, and the new concept digested, it suddenly appears so
simple that it can be vulgarized without serious distortion, and for a handy
back-entrance to topology without using the highly complex mathematics

involved, the reader could not do better than acquire a copy of Astounding
Science Fiction for July, 1954.

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HOUSE IN YORKSHIRE

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ARCHITECT | PETER WOMERSLEY

The house is near Farnley Tyas, about four miles
south of Huddersfield, at the edge of a 200-foot drop into
a thickly wooded valley. There are extensive views all
round of woods and moorland. The site is 100 yards long,
but only 24 yards across at its widest, and has many fully
grown sycamores, beeches and chestnut trees, which

1, The view south from the living room over the Holme valley.

were all preserved. The house was sited as near as
possible to the edge of the drop to leave the maximum
space between it and the road.

Most of the internal space is devoted to a large living
room, with one enclosed bedroom and a service stack,
but a nursery and guest room are to be built later over

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HOUSE IN YORKSHIRE

2, the east side,
showing gaiage with
ter: ace above, and 3,a
detaii of the dining
end of this side with
music ga‘lery on the
first floor. 4 living
room and balcony
from the south-west.

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the garage, within the existing timber
framework. The living room is differen-
tiated into six main sub-divisions by
changes in floor and ceiling level, and
by visual hazards—the service core,
staircase, sideboard and radiogram units,
and the structural columns. Apart from
providing all the normal facilities of a
home, provision had to be made for
extensive entertaining and music. The
whole internal area can be opened up for large parties,
or the different parts of it used separately and isolated
for smaller gatherings, largely by changes in artificial
lighting.

Accommodation had to be made for both live and
recorded music. A music gallery was designed for the
playing of the former, and the apparatus for recorded
music is housed between the columns separating living
room and study. The quality of sound produced is helped
by the height of the room with its ceiling panelled in

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364

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mahogany by the area of stone paving immediately
below the amplifier unit, and by possible alterations in
the texture of the wall opposite to the speaker—plate
glass or curtain in varying degrees. The living room
dominates the house with its size and height and smaller,
more intimate spaces open off it—the workroom upstairs
for dressmaking, etc., the study, and the kitchen, its
cooker fitted with hood and extract fan to eliminate all
smell.

The structure is framed in timber, with infilling
materials which echo the surrounding natural colours.
Foundations are traditional 134 in. brickwork on concrete
footings. The ground floor is 4in. concrete on hardcore

5, the timber columns supporting the

roof in front of the living room curtain wall, seen
from the balcony. 6, the first-floor

terrace (which is a future children’s wing)

from the west with the main block of the house

* the right; study below and master bedroom
above.

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365

with a continuous damp-proof membrane. On top of this
is a 3 in. screed containing the steel heating coils. The
roof is supported on timber columns at 6 ft. centres, with
two spans, of 18 ft. and 12 ft. The columns are strapped
to cast-iron shoes bolted to the site concrete. The inter-
mediate floors are l-in. diagonal softwood boarding on
softwood joists, which rest on 2 in. by 2 in. mild steel
angles fixed to the trimming joists. The roof consists cf
l-in. diagonal boarding on tilting fillets, on a slag wool
quilt ; this is draped over 10 in. by 3 in. softwood joists
tusk tenoned to the trimming joists. The garage and
boiler-house roof is formed of patent precast r.c. beams,
with breeze spacers.

Bracing walls are either diagonally braced stud walls,
lined externally with softwood horizontal boarding and
with exterior finish of oiled and varnished 4 in. by 1 in.
meranti shiplap, or mass walls of limestone, the different
floor levels raised on rubble limestone salvaged from a
local railway siding. A pale lilac-coloured sand-lime
brick was used for the chimney wall and the garage and
boiler-house. Fixed windows have double glazing units;
sliding windows are }-in. plate in painted hardwood
frames. The ground floor covering is mostly 1l-in. York
stone squared flags bedded in a cement screed. The living
room has a camphorwood strip floor on battens. The
walls around the service core are 3-in. breeze either
plastered and painted, or covered with polished
mahogany boarding. All stone and brick walls are left
unplastered. Ceilings throughout are formed of decora-
tive plywood panels with a birch or gaboon finish. Fur-
niture is designed by the architect.

12

7 and 8, looking down into the living room
from the music gallery. 9, stairs and gallery
from the living room. 10, master bedroom
looking westward over Hay Wood. 11, dining
room, with music gallery over. 12, study. 13,

13

HOUSE IN YORKSHIRE

workroom on the first floor. 14, on the facing
page, looking across the living room from
the study. 15, the kitchen seen through the
servery hatch from the dining room.

366

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ARCHITECTS | JAMES CUBITT AND PARTNERS

The site, formerly the orchard and vegetable garden
of a large nineteenth-century house, has a 107-ft. north
frontage to Avenue Road and a depth of 120 ft., and is
surrounded by a high hedge.

The new house was placed only a few feet from the
screen of hedge and trees fronting the road; the north
elevation has consequently been kept almost blank, the
area in between being treated with cobbles and paving.

The plan divides virtually into two wings, the parents’
and the children’s, linked by the kitchen which, since
there is no corridor between the two, can be used as
access. The parents’ wing contains the living area and
master bedroom, with its own bathroom. The south wali
of this area consists almost entirely of double glazing.
The single entrance serves both the kitchen and
entrance-lobby, which has a slightly lower ceiling, partly

the garden front, with the children’s bedroom wing on the right and living room in the centre.
opposite, a general view showing the main bedroom and garage to fhe left of the living room.

368

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for storage above and also to accentuate the height of
os the living area. The kitchen was designed in great detail
because of its part-visibility from both the lobby and the
living-room. Although it has a small low window for
view, it depends for illumination on a large domed roof-
light.

Construction is of 1l-in. cavity walls. The roof is of
2-in. wood-wool slabs on open-web joists, screeded and
finished with roofing felt and }-in. macadam. The floor is
in 6-in. concrete on hardcore, screeded and finished with
wood blocks or linoleum. t

The fireplace wall in the living-room is of Burwell
white bricks with shelf and hearth of polished Westmor-

3, looking through the
living room to the main
bedroom. 4, the west end of
the garden front. 5, the

HOUSE AT LEICESTER

basin in the main bedroom,
set in a slate shelf with
cupboards underneath. 6,
the entrance (north) front ;
the na: row window on the
right lights part of the
living room. 7, the living-
room fireplace and log store.

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land stone. The adjacent cupboard fitting is veneered
in pear. The fitted desks and shelves on the opposite wall
are mahogany.

A special rosewood-veneered fitting between the
kitchen and dining area serves both as a hatch and for
storage. A rubbish disposal unit is incorporated with the
sink. The house is floor heated by means of copper pipes
laid in the screed, which are fed from a gas boiler in
a chamber off the entrance hall.

371

8, corner of the living
room with veneered
pear fitted-cupboard
and north-facing
window. 9, rosewood
serving hatch between
kitchen and dining area.
10, the dining area
itse!f, at the eastern end
of the living room. 11,
the entrance from
Avenue Road.

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Because advertising is even more transient than ether
forms of commercial art, the relics of the vigorous
vernacular in which the daily dialogue of Victorian
consumer and producer was conducted have largely
disappeared. That vernacular deviated with noble
self-confidence far from the classical legacy of
eighteenth-ceniury design, and reached one of its
apotheoses in the House-styles of the great brewers,
discussed in Brian Spiller’s article below, and
epitomized, opposite, = by the silhouettes of

that epoch’s charac- } teristic hanging lamps,
swinging above the ghosts of a great tradition of decorative
lettering. The intervening years of ghastly good taste have
not altogether obliterated the remains of that golden age
of commercial design, and enough of them survive

in Brewers’ houses to provide a solid traditional basis

on which to create a new commercial vernacular,

Brian Spilier

BREWERS’ HOUSE STYLES

The brewing industry in its modern form grew up in 18th century London.’ In that
period the ‘common brewers’, exploiting the advantages of large-scale production ‘and
door-to-door delivery, ousted the “brewing victuallers’, who then became retailers only.
Rumbling drays, built to carry three butts, and drawn by two massive horses in tandem,
symbolized the emergence of the factory system. London’s ‘capital brew-houses’ were
the marvel of foreign visitors; their owners counted among the first ‘New Men* of the
Industrial Revolution. Many of them, even today, are still owned by founders’ kin,
thanks to the ability of successive generations to heed Sir Benjamin Truman’s warning:
‘Grandson, there can be no other way of raising a great Fortune but by carrying ’on
an Extensive Trade’. Extensive—and steady: for to keep their plants in ‘constant -
commission, and yet avoid over-production, brewers needed an assured output. This
could be achieved only by controlling retail outlets. And so in the second half of the
century the brewers took steps to ensure pub custom.

There were then two methods of securing the trade of a pub: buying up the lease or
lending the owner money. In either case the publican contracted to buy from that particu-
lar brewer: If he was satisfied with the beer, all was well; if not, he could usually pay off: -
the mortgage or loan by borrowing from another brewer. The licensing system encour--
aged the practice, for once the trade of a pub had been tied it was difficult for a-rival.to set
up another house in the immediate neighbourhood. In 1817 a Select: Committee of the
House of Commons reckoned that one half of London’s pubs, and:a growing number in
the provinces, were tied houses. =.

As the partnership between producer and retailer solidified, the brewer's signboard
began to appear above the door. The earliest example in the British Museum’s Print Coliee-

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tion is dated 1816. Ten years later Truman’s included signboards in their annual yvalua-
tions for the first time. From now on, though publicans were still the real or nominal
owners, the brewers used tied pubs as their shop: windows. “We rarely if ever see any
change in the name of the brewer who supplies a particular house’, George Dodd, author
of The Food of London, wrote in 1856; ‘the inscription “Barclay, Perkins & Co,’s Entire”
adorned the front of the ““Red Lion” twenty years ago, as it does now, and will probably
do twenty years hence; Truman, Hanbury & Buxton cling to the “Lord Nelson”, year
after year; and “Henry Meux & Co.’s Entire” has been the beverage supplied at the
“King’s Head” for a generation past.’

In the last quarter of the 19th century, the loan-tie and the leasehold-tie yielded to
outright ownership. An Act of 1869 brought beer-houses back into the licensing system.
The justices, strengthened by a series of judgments culminating in Sharp v. Wakefield,
1891, used their powers to cut down the numbers of licences, grossly inflated by ‘free
trade’. Frightened of losing their secure outlets, or attracted by the prospect of poaching
on each other’s trade, the brewers embarked on a scramble.to buy up freeholds and
leaseholds. Vast numbers of pubs changed hands at ever-rising prices. Many small
breweries could not stand the pace; some of the greatest had to write down their capital;
between 1881 and 1900 the number of ‘brewers for sale’ dwindled from nineteen to
six thousand. Amalgamation continued; so that today 65,000 pubs in England and Wales,
or 89 per cent. of the total, are owned by about 400 brewers. In Scotland, where brewer-
ownership is not supposed to exist, the older form of mortgage-tie is common enough.

Having acquired shoals of pubs, the new owners set about making them look like their
pubs. The surveyors’ and signwriters’ departments were kept busy. Huge signboards,
handsomely inscribed with the brewer’s name, marched across the skyline and the fascia,
where the publican’s name disappeared; others appeared on gables and corners, hypnotiz-
ing all comers from all directions; raised grotesque letters spelled out the names of prize
ales and celebrated stouts on ground floor windows; glazed advertising plaques flanked
the doors or stood at dog’s eye level above the pavement. Satisfied that everything had
been done to ensure that no sighted customer could possibly enter a rival house by mis-
take, some managements were content to leave the actual structure untouched, Others,
more ambitious, sought maximum advertising rewards by applying an architectural uni-
form. Often enough the treatment was Tudoresque, the assumption being that this was
what the customer liked best. As one brewer has written, ‘we did not think of ourselves as
patrons of art. We were out to sell beer in premises which the people liked; and at that
time they loved Brewers’ Tudor, and some do still.” Neo-Georgian followed, at a time
when the great banks, the General Post Office and other architectural bien-pensants were

going for the same thing. It was usually not so much a question of distinctive house styles
as of follow my leader.

At the present time house-styled exteriors are out of fashion; even firms that once
favoured them, such as William Younger or Style & Winch, seem to have changed their
minds. The volume of advertising material on facades has been much reduced, on the
principle that the eye ought not to be glutted and benumbed, but should rather focus on
some feature common to all the owner’s houses: a single distinctive fascia, an illuminated
lantern, a stylized inn sign, a house-mark. Many brewers use standard lettering forms

and colour combinations for fascia-boards—often for vehicles too, with their great
[continued on page 38!

Brian Spiller: BREWERS’ HOUSE STYLES

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Mid-twentieth century publicity ranging, as it mostly does, from the moronic to the gimmick, is
seldom content with mere straightforward statements; yet bold and characterful
typography can contribute more than most other kinds of publicity to the outdoor or
indoor scene. It was through vigorous lettering and simple trademarks that brewers
made their commercial individuality plain to the nineteenth century man in the
street and, in the process, did much to adorn that street. But a sense of guilt over
what they seem to conceive as vulgar beginnings has brought about a fatal decline into
genteelism in brewers’ house styles. The following pages trace this decline. Happily they
also show the first signs of a rebirth of vitality, rare as yet, but gathering momentum,
as it must in a sphere of activity where robustness in design is second in importance
only to the quality of the brew.

exteriors

Titlepiece, 1, The World Turned Upside Down, Old Kent Road (1868-19382); intriguing
when seen once, its repetition would be intolerable, and the essence of house style design is
to provide for repetition without refining away character. 2, the former Amhurst Arms,
Shadwell: the fat-face letter used with pungency and elegance (see also 4). 3, the Britannia,
a pre-war house in Ironmonger Row, E.C., which serves the demands of publicity as little
as it does that of conviviality. 4, the White Swan, Farringdon Street,E.C.; another dignified
and lively use of the lettered advertisement, in contrast to 5, the York Minster, Dean Street,
Soho, which would greatly benefit from good lettered boards and signs. 6 and 7, two
country pubs: the Falcon, Huntingdon, and the New River Arms, Turnford, Herts. In
favour of the first; building on the road with parking behind, bold and beautiful lettering,
simple but welcoming facade. Against the second; desert of unwelcoming asphalt, mean
lettering, genteel private house architecture.

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corner
boards

8, in Long Lane,
Bermondsey, corner
board with skilfully
varied letter faces.

9, in Marylebone, W.1,
a boldly curved board
which was a real asset
to street architecture.

10, the decline—
shrunken and badly
shaped board and
characterless letter faces
with too much space
between lines

(note also the lamp here
and in 11, in contrast
to the two above).

11, the tradition
revived—a painted
corner sign in Wells
Street, W.1, in the best
vein of nineteenth
century publicity (date
1954).

of dreariness in our streets.

of a kind that had disappeared from pub fascias until the Champion (see 11).

15, leaving aside the architectural treatment this type of vitiated Trajan letter has been responsible for a great deal
With its air of spurious gentility it is particularly inappropriate for pubs.

16, a contemporary re-styling job that has been markedly successful in all but the lettering, which, though pleasant
in itself, when used small, well-spaced and unshadowed as it is here, creates a house style but misses the pub style.

bold. trade-mark. On this page 4, 6, 10-12 and 15 are particularly

nd which, unfortunately, can be very easily reproduce.

re numbered indenendentlu from the other

12, a nineteenth century skyline board in the satisfying Watney house style of the time.
13, a good script letter
a ' 14, a fascia remarkable only for lacking all style a
2s a eg 17, an excellent condensed fat-face in gold and black on red which is consistently exploited by this brewer. :
ae at ; pee 18, the Champion again (see 11): a really fine example; exactly what a brewer’s house style can and show'd be B77

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house marks and plaques BREWERS’ HOUSE STYLES

x 19 and 20, two wall plaques,
of a kind that are used widely
as eye-level publicity: no
attempt is apparently made,
other than by the reproduction
of a label, to give them
individuality. 21, a modern
house mark which, as its
name suggests is designed to
possess individuality; artiness
in this one makes it ill-
suited to its purpose. 22, two
house marks designed by
Milner Gray for Courage, the
freestanding one being
particularly successful as a
crisp and forthright emblem.

23, 24 and 25, a selection of
house equipment, all
designed by Milner Gray for
Courage (with Benskins) the
only brewer that carries a
consistent design policy
through all its publicity and
equipment to create an
immediately recognizable
house style.

30

26, a Watney poster of the
Edwardian era, designed by
Francis Barraud and
reminiscent of his longer-
lived advertisement for
H.M.V. A now very ‘period’
use of the animal in
brewers’ advertising, a theme
developed later in a more
sophisticated way by
Guinness. 27 and 28, two
| advertisements of which the
second gains immeasurably
from avoiding the realisticaily
| reproduced article and ea-
ploiting the Courage house
style—good lettering and a
1. WHEEL for putting shoulder to §«=—- 5. TRUMP CARD for playing simple bold trade mark.
, 29 and 30, two examples o,
EME for ihe clever gimmick, which 4

3. STONE for not leaving unturned 7. BELT for tightening have been so successful they
— have faute de mieux almost

selves.

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23
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WHAT IS IT
MUCH S| WHAT THE SITUATION DEMANDS
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278) 19

fransport

lTBREADS
SSVINGSTON

2l
: 19, one of the earliest Whitbread lorries c. 1910 and, 20, a bulk bartanker of 1988. tanker, there is little attempt made to reflect house styles in brewers’ transport,
he 21, a Guinness Scammell prime mover and trailer of the early 1930’s and, 22,a which is strange, since this is something that most other industries exploit to the

Guinness road tanker of 1955. Apart from the harp on the back of the Guinness full, for better or worse.

trade marks

: Border Breweries Bass, Ratcliff & Friary, Holroyd &
a (Wrexham) Gretton John Smith (Tadcaster) Courage Healy's

SERVABO FIDEM
TRADE
MARK
REGISTERED
George Gale Benskin's Newcastle Breweries John Joule Buxton
\ Y
W MEUX’S
Fuller, Smith &
Turner Worthington Eldridge, Pope Meux's

Marston, Thompson

Hammond's United & Evershed Wm. Younger Guinness Ind, Coope & Alisopp

%. Above, a selection of twenty brewers’ trade marks, the basic material, alongside lettering, of the house style. On é IN »} ff
the right, two mirrors painted and engraved with now famous lettering and trade marks. It is particularly sad a
that this craft has been allowed nearly to die out, since it is a form of pub decoration that combines many virtues J a ——

—glitter without vulgarity, a sense of space without bleakness and the feeling of a crowd without too many people.

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The Architectural Review, December 1955

881

continued from page 374]
value as mobile advertising stations. One must be wary of generalizing about so

widely dispersed, heterogeneous, instinctively conservative but by no means hide-
bound industry. Still, it is safe to say that although brewers want to emphasize their
ownership of a pub, they do not want all their pubs to look exactly the same, like so many
branch stores. The general opinion seems to be that a new pub should suit the needs of its
local custom and be designed to fit into its surroundings—a theory fostered, if not en- .
forced, by the justices and local planning officers who hold the whip hand in these matters.
In any case, most of a brewer’s pubs are already there, in every conceivable shape, size,
style and situation.

Next to architecture, the brewer’s interest in design centres on his bottle labels. A
company’s range of labels has usually a strong family resemblance; often enough the basic
design is of long standing, though it may have been progressively simplified. But there
seems to be little enthusiasm for centralized design policies embracing all the articles com-
monly used inside the pub: glassware, cutlery, waiter trays, drip mats, mirrors, dart
boards, show cards, menu cards, calendars, notice boards and so on. This may seem odd,
because most of these things are already exploited for advertising purposes. The objec-
tions are not far to seek. First, a pub’s individuality is one of its greatest assets, so it may

“be argued that standardization can be overdone. Second, the cost of going the whole hog

has got to be carefully weighed, though the example of Courage’s, who have gone some
of the way, proves that it can be done. Not unnaturally, brewers want to know how far
the cost of improvements will be met by commercial returns. And since they must aim at
pleasing customers rather than arbiters of elegance, official or self-appointed, they won-
der whether a fashionable designer’s idea of what looks good will be shared by the man in
the Public Bar. It may be that it is, for whenever glassware, ash trays or other movable
objects have been specially designed they have rapidly found their way into customers’
pockets and handbags. Scarcity value may have been the motive, for most of these
things are painfully shoddy. Yet there are brewers who would prefer to have them well
made, and a few who care deeply. Well made—not too consciously ‘designed’; because if
they are too slick or sophisticated they will not look right in an ordinary pub. ‘Com-
moditie, Firmnesse and Delight’, to use Wotton’s famous definition, are what is wanted.
This combination of qualities underlies the best-looking and most appropriate objects
peculiar to the industry, whether a dray, a Benskin signboard, a carved country inn sign
or a Bass label. The pick of all these are probably not the work of ‘designers’ at all,
but of simple, anonymous men trained in the disciplines of a traditional craft. It is a
sobering thought.

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RECENT WORK BY
Bory

1, offices in the via Gianturco, Rome: street elevation.

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383

OFFICES IN THE VIA GIANTURCO

The first five of these schemes are in Rome; the sixth,
at Santa Marinella, is on the Tyrrhenian coast. The
office block in via Gianturco, seat of the Societa
Italiana degli Autori ed Editori, is of in situ concrete,
| aluminium and travertine. The offices are turned
4 towards the outside, and stairs and services towards the
4 inner court. The window unit, corresponding to the
. module of secretarial table, chair and filing-cabinet, is
aluminium-framed and double glazed, with horizontally-
pivoted venetian blinds between the panes. Small ven-
tilation panels are set back between the brise-soleil and
the floor slabs. It was designed in co-operation with the
architects Passerilli.

Top, return
elevation
showing tra-
vertine infill-
ing. Above,
staff stair-
case. Left,
block seen
across the
via Gianturco.

j

REGENT WORK BY LUCCICHENT!I AND MONACO

The small block of flats in via di villa Sacchetti is
irregular in plan. Thus, for the sake of unity, a single
infilling material has been used throughout—an aggre-
gate of tufa, peperino and travertine, carefully blended
for colour and texture.

The flats in via Stoppar: vary the infilling panels from
floor to floor, within identical thin floor slabs, and
corresponding to a rigid modular unit. The panels are
faced with terra-cotta bricks ; the floor-slabs fascia and
soffit, and window parapets are faced with venetian
mosaic, and the ground floor is faced with polished
granite and anodized aluminium.

The elevation of the flats in via de villa Grazioli is
divided into strongly marked horizontal planes, with
structural columns mostly visible, but is differentiated by
varying, for example, the positions of stone panels corres-
ponding with chimney corners and the lengths of the

Below, street
elevation.
Right, side
elevation
and main
entrance. Far
right, close
up showing 4
aggregate
infilling.

concrete flower boxes on the outside of the balconies.
The glass-panelled balustrades are continuous. The chim-
ney panels are of mixed stonework, composed of tufa,
peperino and travertine; elsewhere the structure is
cement-rendered or stuccoed and painted. The colours
are: under the balconies, blue-grey ; the fascias white,
walls ochre-red, balustrades dark blue. Surrealist
chimney-covers are by Nino Franchina.

The elevational pattern of the flats in via Po is derived
from the ends of the cantilevered beams, the fascias of
the thin floor slabs, and the parapets. Behind it, separ-
ated from it by the continuous parapet, the balconies or
by the corner dining terraces, are the glazed surfaces of
the structure. On the sides, where available depth was
restricted to 60 cm., the surfaces consist only of the
floor-slab fascias and the wall-structure. The set-back
attic floor is shaded by a slab. The materials are straight

-

FLATS IN THE
VIA STOPPANI

Below, view
from the via
Stoppani.
Right, reces-
sed entrance:
ground floor
panels are
faced with
granite and
anodised
aluminium.

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S| AX =
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RECENT WORK BY LUCCICHENT! AND MONACO FLATS IN THE IS

be VIA GRAZIOLI
6 62) T
joint terra-cotta brickwork, painted stucco, river-gravel Below,
. w
and cement rendering ; colours are red-brown, ochre, red 2 ine
2
L strongly ex-
and green. ¥ pressed floor

slabs. Facing
B2) In page, one

< The two blocks at Santa Marinella are situated be-
ek tween the shore and the main road, the via Aurelia.

corner of
At ground-floor level there are only pilotis and a canti-
levered stair so that the passerby has an uninterrupted : : races.
a view of the sea. The upper floors open towards the sea, ——e -
0 oFT.

2 with wide terraces cantilevered out to 34 metres from
the main structure, with variously treated parapets and
a sweeping outside stair. On the road elevation the
4 narrow service-balconies are protected by a brise-soleil
+ of blue and white enamelled tiles. The materials are

bush-hammered concrete, stucco, and enamelled brick ;
4 the colours white, light grey-green, sea green and dark
blue.

FLATS IN THE VIA PO

Far tett,
eleva-
tion. Left,

corner with
dining ter-
races, show-
ing the canti-
levered
beams and
floor slabs,

FLATS AT
SANTA MARINELLA

view etween
L
K
|

the blocks:
0) 25 FT.

eleva-
tions have
blue and
white brick
infilling, laid
edgewise.
Below,
pilotis and
cantilevered
main. stair-
case.

.
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;
4
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4
|.

Familiar to every student of Art
Nouveau, the swirling painted
decorations on the stairwell of Vietor
Horta’s pioneering house at 12, /’ve
de Turin, Brussels, are seen in t'¢
inset, below. But the paintings h ve
now disappeared, the address ha
been changed, and 6, Rue Paul-
Emile Janson now becomes
important for the emphasis that
lays upon Horta’s bold use of
exposed iron structure, an aspect of
his work which, as Mr. Madsen
points out in his article, is quite ‘s
characteristic of his art as the
uninhibited organic forms of
non-structural objects, such as

the inkwell, opposite. Both may
possibly have been inspired by

his readings in Viollet-le-Duc.

In 1878, Victor Horta, seventeen
years old and poor, set out from the
flower-covered plains of eastern
Flanders to seek his fortune in
Paris. He was the son of a cobbler,
and travelled against his parents’
wishes. He was armed with the
knowledge he had gained during two
years at the Academy in Ghent,
the town where he was born. It is
not known how long Horta stayed
in Paris, but there is no doubt that
these years were of the greatest
importance to him. Years later, he
said: ‘Paris set my xsthetic sensi-
bilities tingling... No school train-
ing could ever give me an enthusiasm
equal to that which I always felt
when looking at, or reading about,
her monuments.”*

Back again in his own country,
Horta continued his training at the
Académie des Beaux Arts in Brussels,
where he was an outstanding student,
leaving in 1881. It was not difficult
for him to obtain a position in the
office of the architect to King
Leopold II, the serious-minded
classicist, Alphonse Balat (1818-95).
Horta soon distinguished himself,
and after Balat died he assumed
charge of the office for some years.
From 1892 Horta was attached to
the University of Brussels, in the
capacity of professor until his
death in 1942. The only break was a
stay in America during the 1914-18
war, where he and his wife, through

their energy, acted cultural
1 For information and a assistance I wish to
thank the architects Jean Delhaye,

M.S.C.A.B., and J. J. Eggericx, M.S8.C.A.B.,
who both worked in Horta’s office and
allowed me to draw on their wide knowledge
as well as chief librarian. Arséne Alexandre,
Boole Supécte ure d’Architécture, Brussels; and
Miss Roza Boschman, Ghent. The Horta
Archives, in the care of Jean Delhaye, proved
of great value too. I am also exceedingly
grateful to Baroness Horta for her invaluable
assistance.
Literary sources:
Courtens, Antoine. ‘Victor Horta, 1861-1942,’

Le Document, Brussels, No. 4, 1946-47,
pp. 69-79.
Delhaye, Jean. ‘Hommage 4 mon maitre :

L’architecte Baron Victor Horta
L’ Appartement d’aujourd’ hui, Liége, 1946,
pp. 9-17.

Dumont, Alexis. ‘Hommage A Victor Horta,’
L’ Emulation, Brussels, No. 4, February,
1946, pp. If.

ictor
Vol. XX (1900), pp. 221-23.
Pierron, Sander. ‘ Victor Horta,’ Savoir et
Brussels, Vol. IV (1924), pp. 193-202.
Art et Déesration, Paris, Vol. I, No. 1 (1897),
pp. 11-18; No. g, p. 23; Zbid., Vol. XI (1902),
pp. 72-75; Art et Techniques, Brussels, July-
August No. (1913); Der Baumeister Berlin,
Vol. I (1903), pp. 9 sqq., 133 sqq.; Cicerone,
Leipzig, Vol. XV (1923), Ppp. 160-204;
Kunst und Dekoration, Darmstadt,
Vol. XI (1908), No. 1, 148 sqq.;
L’Emulation, Brussels vol” ‘XxX (1895),
Pp, 187, plates 39-43; Die Kunst, Munich,
(1900), pp. 206 sqq.
Letter collection in the Académie Royale,
Brussels.

889

ambassadors for Belgium and Europe.

At the time when Horta started
work in Balat’s office, Belgian, as
indeed all European, architecture
was tied to the imitation of styles
of the past, though efforts were
made to find a new expression by
means of combinations of a number
of different styles. The leading
architects besides Balat were Francois
Beyaert (1823-94), a pupil of
Viollet-le-Duc, and the more in-
fluential Joseph Poelaert (1817-79),
who designed the Palais de Justice in
Brussels (1866-83). The neo-Baroque
of this vast pile is famous, but
Beyaert also designed in neo-Gothic,
neo-Renaissance, and in a com-
pletely classical style. This eclectic
historicism corresponds to the state
of affairs in Britain, except that
here its beginnings date back to an
earlier age and the Gothic trend in
its early fanciful as well as its later
more severe archaeological phase was
specially favoured for church build-
ings. That was not so in Belgium,
where the tradition of classical
ecclesiastical architecture was much
stronger. Gothic in Belgium was a
secular style influenced in particular
by the spectacular Adtels-de-ville of
the fifteenth and early sixteenth
centuries. The numerous illustrations
in Architecture en Belgique 1872-76
(Liége, 1876), give a good picture of
the secular architecture of the period.
In the middle of the 1870's, German
neo-Renaissance prevailed alongside
French neo-Baroque. The first is
characterized by balconies supported
on caryatids, by pointed gables,
and peculiar ornament. The second
has a far more elaborate modelling of
the wall surfaces, but smoother
contours. The ornamentation is
dominated by classical detail. The
parallel in England would be the
Elizabethan, somewhat later than
Queen Anne, and in the late 1880's
and the 1890's the Wren style.

In addition to these three main
trends, neo-Gothic, French neo-
Baroque and German neo-Renais-
sance, there existed in Belgium a
fourth. It was nationalistic, as
indeed one might expect of a
nation only recently risen to national
independence. The pattern here was
the sixteenth and _ seventeenth
century brick architecture with stone
dressings. That industrious writer
on architecture, E. Allard, who was
behind the new periodical L’Emula-
tion, made himself the spokesman
of this movement. He said in 1876,
on the question of the training of
architects: ‘We must try first and
foremost to create Belgian citizens
and Belgian artists—-we must free
ourselves from all foreign influences.’*

~ 2X. Allard, L’Architecture Contemporaine,
L’ Emulation, Vol. II (1876), Nos. 10, 11, 12.

Emile Leclercq said in the same
connection: ‘The first necessity, the
first endeavour must be to
Flemish in Flanders.”* The Belgian
Pavilion at the Paris Exhibition in
1878 was an example of this move-
ment. The style here was that of
Rubens.

Among these movements only the
national one made serious attempts
at finding solutions to real archi-
tectural problems. Its adherents
admittedly tended to use their pens
with more determination than their
pencils, but in their theories at least
they defined the dangers in no
uncertain terms. Those men,
especially, who founded the Société
Centrale d’ Architecture de Belgique in
1872, and started the Society’s organ,
L’Emulation, two years later, were
aware of their responsibility. In the
leading article of the first issue we
read: ‘We are called upon to create
something which is our own, some-
thing to which we can give a new
name. We are called upon to invent
a style!’ In the following years
L’Emulation championed the new
constructive tendencies in Belgian
architecture. Time and again such
men as Allard and Leclercq reiterate:
‘Nothing is beautiful in architecture
unless it is true.’ ‘Shun painted
plaster and stucco.’ ‘Architecture
is drifting towards decadence, to-
wards a veritable cacophony.’ But
we do not only find negative criti-
cism, new roads for the future are
indicated: ‘Industry, after having
killed art, is going to revive it by
offering us all the elements necessary
for such a revival.’ These words
were said in 1884, before Sedding
in England acknowledged the re-
percussions of industrialization and
before C. R. Ashbee had formu-
lated his modified version of Morris’s
and Ruskin’s programmes. They are,
moreover, stronger and more perti-
nent than those of Lewis F. Day.
The question of iron, which both
Ruskin and Viollet-le-Duc had raised
much earlier, was now reconsidered:
‘Iron is a product of our century,
why are we so afraid of using it in
our new constructions?’® It is
significant here that Poelaert was
violently criticized in L’Emulation
because he was ‘lying in his work’
(at the Palais de Justice) and giving
his material a shape other than that
dictated by its natural qualities.

Such was the architectural situa-
tion in Belgium when in 1885

38. Leclereq, L’Architecture Classiq

tbid., No. 1, Vor III (1877), co. 1-3.

‘The last four quotations come from
L’ Emulation, No. 12, Vol. ITI (1877), co. 79;
Tbid., No. 1, Vol. Ti (1877), co. 1-3; Tbid.,

No. 11, Vol. II (1876), co. 91; Ibid., No. 5,
Vol. IX (1884), co.

5 Tbid., Vol. Wi (1808), co. 111-12.

6 Ibid., No. 5, Vol. IV (1878), co. 28.

Horta designed his first houses, a
group of three in the Rue des Douze

chambres at Ghent. Until then he
had only designed two small funeral
monuments, one in 1888, a Greek
templum in antis, the other in 1884.
He had also taken part in two com-
petitions.’ Of the three houses in
Ghent Jean Delhaye wrote much
later: ‘They are straightforward and
practical, well thought out and
logical; there is plenty of light.
They satisfy the functions which their
purpose requires.’"* They are built
of red brick with arched windows
on the first floor but no other
decoration. Putti, sunk panels and a
far projecting top cornice add an
Italian touch. But there is no si
of the neo-Renaissance in t
accepted sense, and, least of all, the
German Renaissance. With their
simplicity and their great restraint in
decoration, the houses are distinct
at once from all their immediate
neighbours. Yet, while they are
interesting, they are not revolution-
ary. Horta himself said in this con-
nection: ‘I was not so pretentious
as to try and create more beautiful
works than Balat; but I wanted to
act in accordance with my con-
victions.’* After this commission,
Horta returned to Balat’s office
for a short time, also travelling
in the years 1884-86. The years
1886-90 are — the most
interesting in rta’s development;
he set himself the task of creating a
style, measured his own abilities, and
broke with his masters. Our know-
ledge of those years is scanty, but we
do know that they were an eventful
period in the history of Belgian
architecture. Poelaert’s Palais de
Justice was practically finished. It
was received with mixed feelings, in-
numerable criticisms being made
against his copying of styles of the
past. Yet no one had yet freed
himself from historicism. However,
powerful constructional and rational
tendencies were beginning to assert
themselves, originating from the
centre of disturbance in French
architecture, Viollet-le-Duc. And
other French sources, notably Emile
Gallé and Eugéne Grasset, drew
attention to naturalism in decoration.
No English influences on the other
hand can be traced in Belgium until
after 1890.

7In 1884 Horta was awarded the Prix
Godecharles, one of the five prizes given
in the competition for the prison in Verviers.

In the same year he was awarded
rize in the competition for the Kursaal for

ruseels, _ the first prize went to Acker, a
neo-R

maitre Horta
p. 10.

® Extract from a letter mentioned by
Baroness Horta.

&
4
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|
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4, No. 6, Rue de Turin, Brussels, built in 1892-3 (now styled 6, Rue Paul-Emile Janson), the first in the new

2 and 3, the first houses Horta designed, in 1885, a ; j style. 5, coloured glass panel in the entrance of the
group of three inthe Rue des Douzes Chambres, Ghent.

6, door-numerals for the Hotel Solvay, Avenue
Louise, Brussels. 7, the basically Neo-Gothic
eaterior of the hotel and, &, the sweepingly Art
Nouveau interior, az seen in the dining-room. The
electrolier also exhibits the same free linear
invention, and a bold and imaginative acceptance
of new technological developments paralleling his
employment of exposed iron construction.

9-11, the Hotel A
curve of the centre wi

12, Initial by Georges Lemmen, 1893. 13, = ee
and 14, ‘O grave, where is thy victory?
Toorop, 1891-2. 15, vignette by Gysbrecht van yp te

12

=

(520, Avenue Louise), built Horta in 1900, and pulled down in 1949-50. The asymmetrica
wo in 9, above, should be noted. The hall, 11, right, shows clearly the use of exposed iron construction.

As for Horta himself, we know
that between 1885 and 1891 he did
not build any houses, but that he
wrote a certain amount, especially
during the years 1888-89.1°

We also know that he was not
satisfied with what he had designed
up to that time, and that he pr sa
returned to studies, paying con-
siderable attention to flowers and
plants. Then, in 1892, Horta
suddenly emerged as a fully mature
architect with a completely new
style ready on his drawing board.
The first house in the new style was
built in 1892-93, in the best resi-
dential quarter of Brussels, for
Professor Tassel. Its address is now 6,
Rue Paul-Emile Janson.’ But it is
better known under the old name 12,
Rue de Turin. The plan of this
building differs from the traditional
Belgian scheme by a less restricted
space for the staircase and by the
introduction of a circular hall. In the
exterior Horta now turned to the
neo-Gothic style for inspiration.
This is chiefly noticeable in his
columns with their bases and capitals,
and in the design of the windows.
From the Gothicists also Horta may
have received the idea of exposing
iron construction. It was the Gothic-
ists in Belgium who, after the
example of Viollet-le-Duc, had
pleaded for the new material. In
fact iron had already been used a
great deal in neo-Gothic buildings
throughout Europe. Even so, how-
ever, an iron girder, exhibited naked
and unashamed, veritably boasting of
its honesty, as may be seen between
the first and second floor of Horta’s
building, had never before appeared
in a private house. Horta repeats
this motif in several parts of the
interior, where he shows himself most
impressively as an innovator.

In the door, on entering the house,
one notices large areas filled with
coloured glass in a decidedly linear
pattern. The lines grow upwards like
the stalks of flowers, full of life and
fertility; yet they are not naturalistic,
but stylized. Onexamining the floor in
the circular hall, one is immediately
struck by the rhythm of its pattern.
But this time one is reminded more
of the long, curving and swaying
tentacles of an octopus. Again the
pattern is abstract, but it did not
take long before the style was
nicknamed the paling-stijl (that is
‘eel-style’). In addition to the glass
and floor patterns, the walls and the
staircase have abstract linear designs.
Even the iron construction under the
ceiling is subjected to the same
fantastic rhythm. Glass, lead, iron,
stone and wood all have to submit
themselves to the same laws of
decoration. ‘Because, for a man of
his talents, everything was so simple
and easy, he created difficulties
just for the sake of overcoming them,’
said one of pupils.1® When
Balat saw the house, he was silent
and dried a tear in bitter disappoint-
ment over his favourite pupil.

Where are the origins of Horta’s
new style? One’s first guess is of

~ 10 Victor Horta: Musée @’histoire naturelle,
L’Emulation, Vol. XIII (1888), pp. 22-23-24 ;
Ibid., Excursion en Holland, pp. 121 -24:
Ibid., Le Théatre Flamand en Bruxelles,
155-59; Ibid., Académie Royale de
Pi ioe Vol. XIV (1889), p. 16; Jbid.,
Voyage Hellénique, p. 109.
11] owe this information to Baroness
Horta in April, 1953.
12 The house is usually dated 1893, but
Octave Mause mentioned in an_ article,
Habitations Modernes, "Art
Vol. XX (1900), pp. 221- 23, that the house
was actually under construction in 1892.
It is now an Atelier de haute Couture; no radical
changes have been made to the building,
neither outside nor inside, except that the
famous mural decorations on the staircase
have been painted over, they may, however,
still be seen in favourable light.
18 The architect J. J. Eggericx, to the
author April 4, 1953.
14 Mentioned to the author by Baroness
Horta in April, 1953.

;
A
3
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A XOD62 3 :
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i

course Britain, the Arts and Crafts
Movement or the Pre-Raphaelites,
especially in their later phases
which exhibit such _ strikingly
rhythmical and linear tendencies.
In favour of a British origin is the
fact that in 1881, Paul Dietrich and
Joseph Schwarzenberg had opened
Belgium’s first Librairie d’Art in
Brussels (in the immediate vicinity of
the Musées Royaux and the Biblio-
téque Royale).\* The firm maintained
active contact with Britain, intro-
duced, for instance, The Studio into
Belgium, purchased the graphic art
of such men as Selwyn Image and
Heywood Sumner which they made
known to the Belgian public, and
also negotiated sales to the Musée
Cinquantenaire.'* But these pur-
chases, including a subscription for
The Studio, refer only to 1893. As
for the Pre- Raphaelites, their po ral i
larity was by no means unive
Belgium at that time, as ma
seen from the following ‘aes te
menu’ published in L’Emulation in
1893:

Lis en branches au naturel

Fleurs de Tournesol a l’oriflamme

Poissons louches & la dado

Cuisse de cigogne tout au long

Téte d’epouvantail a la Botticelli

Compote de fruit defendu a la

Baudelaire fortement sucré.'?

Neither William Morris nor his
movement are mentioned in L’Emula-
tion before 1898. It does not there-
fore seem likely that any direct
connection of importance between
Britain and Horta existed, when he
designed the house for Professor
Tassel. The Celtic or Nordic Revival
which is a factor in the development
of the style of the nineties in England
and Scotland'*’—and even more in
Scandinavia'*—does not seem to
have had any response in Belgium. On
the other hand Horta was ardently
interested in France, due both to
what he had read and what he had
seen, and Viollet-le-Duc’s Diction-
naire raisonnée d’architecture was
his bible? He may also have
received impulses from the Pont-
Aven, that is the Gauguin, school
toward the end of the 1880s. The
Synthesism and use of line and
rhythm of the group could well have
reached him, but what is even more
probable is dependence on_ the
Belgian group, Les XX, which
had been active in Brussels holding
meetings and _ exhibitions, from
February 2, 1884. The reaction
against Impressionism was clearly
demonstrated at the exhibitions,
where the accent was on contour,
clear colour, line and no depth.
There were two English exhibitors
at the exhibitions respectively of

15 Reported to the author in May, 1953,
by the present Director of the firm, Jean
Schwarzenberg.

146They were wallpapers and chromo-
lithographs, 28 items in all. (No. A.M. 1-14,
— The purchases were made in
18

17g. M. Pre-Raphaelite anglais,
L' Emulation, XVIII (1893), co. 168.

48Thomas Howarth, Charlies Rennie
Mackintosh and the ‘Modern Movement,
London, 1952, pp. 229-232.

1° St. Tschudi Madsen, Dragestilen, Vest-
landkske Kunstindustrimuseums Arbok, 1949-
50, Bergen (1952), pp. 19-62.

29So J. J. Eggericx told the author in
April, 1953.

1891 and 1892, Walter Crane and
Selwyn Image. Herbert Horne and
Ford Madox Brown exhibited in
1893.

But the closest approach to Horta’s
form is in the works shown by such
artists as Anton der Kinderen, the
painter (1859-1925), Fernand
Khnopff, the symbolist (1858-1921),
Georges Lemmen (1865-1916),- the
ambitious neo-Impressionist, Henry
van de Velde, also a painter (1863-),
Alfred William Finch, the painter
and etcher (1854-1980) and, more
than any of the others, Jan Toorop
(1858-1928). Within this group, such
terms as hermétique, synthétisme and
cloissenisme were every-day speech,
and all these terms refer to clear
contours of homogeneous areas. In
their dislike of the disintegrating
tendencies of Impressionism they
were unanimous. The position held
by van de Velde within this group
and his significance in the subsequent
expansion of Art Nouveau has
nothing to do with the birth of the
style. During the years 1889-93, he
exhibited with Les XX as a painter.
During the last two years, he also
exhibited embroideries, ‘worked in
the technique of the Neo-Impres-
sionists which van de Velde, still a
painter, continued to apply to his
canvases.”*4 On the other hand, Jan
Toorop had produced in 1891 and
1892, such symbolic drawings as
Apocalypse, O Grave, where is thy
Victory? and Symbolic Drawing,
which in rhythm and predominance
of line point towards Horta’s new
style. There is no clear indication
that Horta had any direct connection
with the Les XX, although a keen
young architect in Brussels could
hardly remain unaware of them.
Les XX were specially interested in
decorative art, and in 1893, gave
two whole halls of the exhibition to
Arts Décoratifs. In 1891 already,
pottery had been bited, including
works by Gauguin. It is highly
characteristic that in 1894 van de
Velde gave a series of lectures on
Camille Lemonnier’s slogan:
*L’egalité de tous les arts, décoratifs
et autres.”

Horta must have known Gallé and
Grasset, Viollet-le-Duc, the general
opposition to the copying of period
styles, the post-Impressionist em-
phasis on line, and of course of
Toorop. But in the midst of all this
varied activity it remains Horta’s
achievement that he gathered all
these tendencies together and applied
them to the house as a whole. The
pronounced three-dimensional and
plastic effect, however, which charac-
terizes some of Horta’s fayades and
the dynamic form language which
stamps his ornaments and smaller
objects should most probably be seen
in relation to the plastic conception
of form of the neo-Baroque.

Horta continued throughout the
1890s in his dual task, the creation of
a new idiom of form and the search
for a logical and clearly expressed
architectural solution to construc-
tional problems. The first task had
been achieved in the house of 1892-
93, the second found a = completely

21 Octave Maus, Trente A andes de lutte pour
Vart, 1884-1914, Brussels (1926), p. 147.

Stephan Tschudi Madsen

satisfactory solution in the Maison du
Peuple in Brussels, 1896-99, the
first facade in Belgium consisting
mainly of iron and glass. Specially
interesting points in this building
are the Gothic details in the interior
and the polychrome areas of the
facade. The first indicates a persever-
ing source of inspiration, the second
a national tendency

During the 1890s, Horta was
responsible for a number of houses
in a fully developed Art Nouveau.
Before Sigfried Bing opened his
showroom in Paris in December,
1895, the plans for the Hotel Solvay
in the Avenue Louise and the Hotel
Eetveld in the Avenue Palmerston
both in Brussels, were ready on
Horta’s drawing board. The exterior
of the Hotel Solvay is again basically
neo-Gothic both in construction and
detail.2* The interior, however, is
sweepingly Art Nouveau. From the
ceiling, with its linear decorations,
a cluster of thin parallel tubes is
suspended which open out in irregular
flowers reminiscent of violets; in the
slightly curved walls the same linear
rhythm occurs everywhere. Nothing
can be changed, nothing can be
subtracted or added; no other style
could be allowed, a Baroque chair
would seem coarse and _ insulting,
and a Louis XVI vase an out-of
place flirtation.

Only textiles could be bought in
the market to suit such a unified
design, and they would in all prob-
ability be English. There exists, in
fact, an interesting bill from van de
Velde who at this time was running a
business in decorative arts. This is
dated June 17, 1897, and tells us
that Horta purchased several vards
of ‘soie Liberty’**—a trivial record
but one which reminds us of the
reason why Art Nouveau is called
by the Italians Stile Liberty.

Horta continued in the style of
Solvay and the Maison du Peuple
until after 1900 (see for instance the
Hotel Aubecq of 1900 which was
pulled down in 1949-50).*%* Then
excesses subside, the idiom becomes
calmer, surfaces simpler and contours
firmer, as may be seen in buildings
like 85, Rue Washington, 1906-7,
and the Etablissement Wolfers, Rue
d’Arenberg, 1906, both in Brussels.
At the same time constructional
problems continued to receive satis-
factory solutions, as instanced by
such buildings as the large store,
Innovation, in Brussels, 1901, the
Grand Bazar Anspach, 1903-5,
also in Brussels, and the Magasin a
UVInnovation in Antwerp. Horta’s
later development to the Palais des
Beaux Arts in the 1920s, and finally
the new Gare Centrale in Brussels,
still incomplete, reflect some of the
main trends in the more recent
development of European archi-
tecture, but fall outside the scope of
this article.

22 Tbid., p. 179. Inside also a Gothic
feeling makes itself felt very occasionally,
see for instance the chair with the small
leaves. Ill. St. Tschudi Madsen, carsten Hop-
stock, Stoler og Stiler, Oslo, 1955. Fig. 96.
Interior details influenced by the style of
Louis XV are also found (e.g., the fireplaces
and the inkwell).

33 Archive
Charles Quint, B

Tconographique d’Art National, Brussels.

124, Avenue

Chronological list of Horta’s Early Work.
(Where no town is stated, vaildinge are in

12 Chambres, Ghent. 1892-3: 6, rue Paul-
Emile Janson (interior partly trans-
formed). 1893 (7): Maison Autrique,
Chausaée d’Haecht. 1893-4; Maison Frison,
37, rue Lebeau. 1895: Hétel van Eetveld,
2, av. Louise. 1895-1900: Hétel Solvay,
224, av. Louise. 1895-6: Hétel Winasinger,
66, rue des Monnaies. 1896: Laboratoire
E. Solvay (transformed). 1896-9: Maison
du Peuple, Pl. Emile van der Vekie.
1896: house, 157, rue de l'Aqueduc.
1897-9: Hétel de Mme. van de Velde, av,
Palmerston and rve Bodugnuat. 1898.

2 houses for himself, 23-25, rue Américai MM
1900: Hétel Aubecq, 5230, av.
(pulled down 1949-50). 1901: Innovation,
rue Nenne (partly transformed). 1903-5:
Musée de Tournai; enlargement of 157,
true de l'Aqueduc; Magazine de Gros
Waucquez, rue de Sable. 1906: Hétel Max | Bara,
Hallet av. Leuze

New
Etabliseement Wolfers, rue d’Aren-

berg

Exhibitions

du Vail St. Lambert, 1896;
at the Paris Exhibition, 1900;
du Congo, Paris, 1900; Belgian Pavilion
at the Turin Exhibition, 1902; Belgian
Pavilion at the Milan Exhibition, 1906.

Louine
Van Beneden; and Ompdraille

Horta:
; Belgian Pavilion

Yvonne;

Villa Carmouche,
1899: ch&teau for Carpentier; chAteau
for Arden, Wenduyne; maison de campagne

by Horta: 1884:
at Ghent. eos: Solvay; Artan,
1895: Huybrechta, Ghent.

family Stern. 1899: Remy. 1900: Rivoir
(with the sculptor Samuel). 1902: Brahms;
Tournal; tomb for Mme.

Villas, etc., bwilt by Horta: 1895: school,
euve; | rue St. Ghislain. 1896: a house for Mile. | Meir, Ant
Brossel. 1897-9: chAteau for Baron Wan-
gen, Chambley, nr. Nancy. 1897: Villa | Frankfur
Exposition | Timberman. 1898: Villa Rouge et Rose;
Villa Germaine, Wenduyne; Villa des
Pavote, Wenduyne; Villa La Joie; Villa

for Frison, Uccle. 1900:
Cousin,

; Tomb for
Lotte, | Peupliers,’ Vilvorde

ation, place
werp. (?): Grand Bazar
Ansbach. Department Store,

1894: for M. and for
M. Dubois. 1901: for M. Vine

These chronological lista ae not have
been compiled without the help of the
Archives de Comite Horta and J. J.
Eggericx.

la Panne.

HORTA: WORKS BEFORE 1900

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Etablissement
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Cio jes Maison Sander
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in Maredsous.
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The name miscellany implies, of course,

include subjecte which, though marginal to architecture, are nevertheless

vital to tt.

DERELICTION

The word Dereliction is commonly
associated with duty and its non-fulfilment.
And it is certainly justifiable to extend iis
meaning into a less metaphorical field
where it still carries its original overtones:
hence the nEviIEw calls the eating up of
valuable land by the indiscriminate tipping
of waste materials, mining subsidence,
unfilled excavations or abandoned workings
and their ruins, phenomena which follow
in the wake of the heaviest industries where-
ever they go, DERELICTION. The extent
and the threat of this problem is probably
little known outside the areas concerned.
The County of Lancashire, as last month’s
article* showed, is unique in England for
tackling the problem of reclaiming derelict
land on a scale proportionate to the size of
the problem. It is probably as little known
that MOHLG, by paying half the cost, in
approved cases, has recognized the urgency
of the task. As a result of that article the
Editors have received a letter from U. Aylmer
Coates, Lancashire County Planning Officer,
which is printed below. An important point
from the letter is that the poorest authorities
are often the worst afflicted—a fact which
is surely the County's (and the whole
country’s) concern, not merely that of the few
unfortunates who live there.

‘Land,’ writes Mr. Coates, ‘has come to
be regarded by many as expendable—the
price of civilization’s wealth, and an im-
poverished soil, barren uplands, excava-
tions, subsidence “flashes’’, spoil heaps
and derelict defence works often remain.
Planning has the uneasy lot of adjudicating
in this clash in the use of the countryside.

‘Extractive industries have already pro-
duced in parts of Lancashire and else-
where, a degree of dereliction which can
only be effectively tackled if reclamation
is accepted as a public liability. When land
becomes scarce, reclamation becomes an
economic necessity as well as an objective
in. the restoration of amenities. Our
approach to the problem is not one of
mere reaction—preservation at all costs.
We accept as an unavoidable course the
need to find new uses to which some of our
land must be put. The test is whether we
are sensitive to the different uses and are
equipped to select the best balance and are
we mindful of spiritual as well as corporeal
needs? There is often an overriding demand

* Kenneth Browne “Dereliction” (A.R. November, neds):

one of a series which will be appearing, devoted to the
same problem in various parts of the country.

898

for the exploitation of capital resources in
the land. Thus the countryside is still
being changed by the works of Man. Can
it be done without forsaking a benevolent
heritage?

‘The Town and Country Planning Acts,
the National Parks Act, the Forestry and
Agriculture Acts between them contain
powers enabling the reclamation and im-
provement of land, but they are generally
unused and untried. Planning Authorities
could themselves do positive work in this
connection and our experience in Lan-
cashire is that we can justifiably ask for,
and, indeed, have secured, greater co-
operation with mineral operators since we
ourselves embarked on schemes of reclama-
tion. An ounce of practice is sometimes
worth a ton of theory especially when
Government shares the cost as it is doing
in Lancashire.

‘It is usually found that the most intract-
able problem of dereliction is in districts
where local resources are least able to
secure a remedy. One of the poorest
authorities in Lancashire, from the point
of view of rateable value, has over 40 per
cent. of its area derelict and a sustained
attack on its problems of dereliction would
involve an increase of at least 5 shillings
on the rates. Lancashire County Council is
accepting responsibility in a number of
pilot schemes without calling on the Dis-
trict Council for any contribution; thus the
county and the country are sharing the
cost, which is fair enough since there
might have been neither a Lytham
St. Annes nor a Chesham Bois if there had
been no Ince-in-Makerfield.

‘But our work might well become abor-
tive if our efforts are overtaken by new
dereliction. For example, the National Coal
Board is entitled to extend, without plan-
ning consent, any spoil heap in existence on
the 1st July, 1948, on the same site. On an
appeal arising from a determination, it was
decided that fences or hedges did not con-
stitute a boundary to the existing site.
Presumably, a stream, canal, railway or
road might do so, but in practice this may
mean that the deposit of waste material
on many hundreds of acres is permitted
development and an Order to bring such
an operation under control may involve the
Local Planning Authority in heavy com-
pensation. Insistence on deposit of spoil,
for example in a subsidence “flash” three
miles away might cost 8 shillings extra
per ton and, assuming a ton of spoil for
every four tons of coal, would add as much
as 9d. per ton to the cost of producing the
coal. Great efforts have recently been made
to save land by increasing the densities of
housing and this has produced more com-

pact and homely layouts, but a rough
calculation shows that in 20 years: time
something like 10,000 acres of land will be
used in Lancashire by mineral operators,
for tipping purposes or by local authorities
for the deposit of household and other
refuse.

‘Any sacleniatlen policy must be not only
curative but also preventative. Whilst
efforts should be made to equate the cost
of restoration with the creation of new land
values and the reducing of subsidies to a
minimum, the enhancement of values in
the neighbourhood ereated by the improve-
ment of amenities should not be over-
looked, In new mineral operations, restora-
tion should be planned with workings as a
single process. In Lancashire, we have
acquired some old and derelict areas by
agreement under Section 40 of the 1947
Act, The grants available from Govern-
ment for acquisition and clearing can
include grading, levelling and removal of
waste material. Subsequent cultivation is
not subject to grant as it is not “implicit”
in the term “acquisition and clearing.” Our
tree planting operations on spoil heaps
have been done under Section 89 of the
National Parks Act which can be used out-
side Park areas. In such cases, grants are
not available under that Act, but the
Forestry Commission have assisted in a
few instances by their grant of £15 per acre
(about one quarter of the cost) which
suggests that the work is of long term
economic value.

‘There are some accompanying benefits
in reclaiming derelict land adjoining built-
up areas: it reduces the sprawl of develop-
ment as well as conserves adjoining agri-
cultural land. Thus, the lengths of streets
and public services such as bus routes,
sewerage, water and electricity may be
shortened and cheapened and the number
of branch facilities, such as libraries,
schools and health eentres, may be reduced.

‘The cases tackled so far are the relatively
simple and inexpensive ones where there
is some reasonably assured demand for the
land, e.g., housing, schools, playing fields,
agriculture or industry. Many derelict
excavations cannot be reclaimed without
filling from outside sources and, tipping
must, therefore, be employed as a positive
reclamation instrument. Sites suitable for
tipping have already acquired a scarcity
value roughly proportional to their proxi-
mity to industrial towns. Mineral operators,
when they have finished extraction, are
generally free to backfill without planning
consent. In remote sites, conditional pian-
ning consents imposed on mineral operators
requiring them to backfill may be. an
expensive liability, but near industrial

sec
i
|
|
Bye

areas they can charge heavily for the right
to use their excavations. Thus, for example,
the refusal of planning consent for tipping
by a steel corporation on good agricultural
land may put a high monopoly value on
nearby excavated areas.

‘The acquisition of worked-out mineral
sites and subsidence “flashes’’ and their
management as regional tipping projects
should, in suitable cases, be an integral
part of any reclamation policy. Co-
ordinated regional tipping projects would
ensure that waste material would be
directed to reclamation objectives.

‘The reclamation of derelict military sites
which have been written off by the Govern-
ment is now proposed as a planning
responsibility and if this is accepted,
government grants should be available for
their restoration in the same way as for
the recovery of any other derelict land.

‘The tree preservation powers of the 1947
Act are valuable in controlling felling
operations which may be made conditional
on replanting, but the role of a planning
authority towards the landscape could,
with advantage, be more positive. Short
of widespread acquisition, the planning
authorities can still do much by persuasion.
If the land has become fragmented into
separate ownerships, this can be a long
and painstaking process, but the results
are usually worthwhile.

‘In many cases, I feel—as THE ARCHI-
TECTURAL REVIEW does—that there is no
need to flatten every spoil heap, the cost of
which would in many cases be prohibitive.
Properly clothed and judiciously planted,
they can’ be attractive in what might
otherwise be a dull, flat landscape. They
can also provide effective wind-breaks and
many of the cloughs and steep-sided valleys
should also be wooded to arrest erosion.

‘Thousands of acres of upland areas—
once forest—are now almost derelict by
erosion or sterilized by water authorities.
They await afforestation. Some of them in
Lancashire are in atmospherically-polluted
areas and perhaps for this reason have not
so far been planted, but when clean air
becomes obligatory much can be done to
humanize many bare tracts of land. The
Mersey River Board have initiated a pilot
scheme for the afforestation of 70 acres of
watershed consisting of poor land reverting
to heath. Thie will provide information
about the effects of afforestation in con-
trolling the rate of water “run-off”. Large-
scale planting in the Irwell catchment area
may produce improvement to the problem
of recurring floods in the valley towns.

‘A treasure is never more valuable than
when the danger of its loss is imminent.
There is, perhaps, a natural tendency to
be passive in these things rather than to
exert our efforts to improve. It needs a
polemic such as an “Outrage” to stir the
public conscience and it is still necessary

for a Minister of the Crown to write the
“Green Belt” Circular.’

Mr. Coates's letter shows that it is possible,
in_ spite of the jungle of existing acts, for
planning authorities to find powers to reclaim
land; and such positive action is the only
justification of their existence, which mere
prevention is not. Planners are advised by a
wide range of specialists—architects, town
planners, engineers and ascientists—but how
often is the result more than a widening and

deepening of the ocean of statistics?
Hugh Casson

RRCHITECTURAL FREE -THINKING
At one level, the modern movement
was invented about 1905 as a con-
scious reaction to nineteenth century
eclecticism. Ait another level—that
of the functional tradition—it has
been there all the time. Sometimes
the functional tradition gives the
same result as the modern movement
and makes the accepted chronology
look a bit arbitrary at first glance.

In 1942, Professor Pevsner wrote an article
called ‘Nine Swallows—No Summer,’*
describing nine buildmgs put up in Great
Britain between 1900 and 1914 which were
‘modern’ before their time. Most of these
were factories; the best, and almost the
earliest, was H. B. Cresswell’s Queensferry
factory of 1901, very near the spirit of
Behrens’s pioneer turbine factory (of
1909), and, as Professor Pevsner remarked,
of equal historical importance. Here is a
tenth swallow, which resembles the turbine
factory in letter as well as in spirit. It
is Chamberlin’s wholesale clothing factory,
Botolph Street, Norwich; its date is 1908,
a year which saw Behrens still building
country -houses derived from Voysey.

The architect was A. F. Scott, of
Norwich, and what is known of his life
and his buildings gives something like a
coherent portrait of one of those free-
thinkers who produced modern buildings
without knowing they had done so.
Typically, it is no help towards under-
standing any of the other architects, for
there was no single approach, no style and
no school, only a handful of unconnected
individuals.

Typically also, Scott’s character is more
relevant than the rest of his building
work. He was essentially a Victorian
individualist born too late (1854). to find
a building style to match his originality,

* AB, May, 1042, page 109.

as 5. S. Teulon or E. B. Lamb managed to
do. A list of his attributes reads like
caricature—he was Vegetarian and teetota),
and hence would not accept commissions
from breweries: he possessed the first
bicyele in Norwich to have pneumatic
tyres, and used it to cycle between com-
missions, As surveyor of Cromer he
invented a new system of road surfacing,
which, characteristically, he didn’t bother
to patent: and he maintained a native
missionary in China at his own expense.
His photographs show a long-bearded
patriarch, stern and incorruptible.

All this is High Victorian (to borrow a
term from art to interpret life, for a
change) and possibly could have happened
only in a city like Norwich, which through-
out the nineteenth century was something
like forty years conservative, and which
had always produced individuals, not
types. After this it is disappointing to
find most of Scott’s buildings reflecting
the prevailing architectural climate in
Norwich—stale Gothic and debased Corn
Exchange Italianate. His Scott Memoria!
Methodist church of 1901 (built by the
Scott family in memory of their father)
and the church hall to Queens Road
Methodist church, 1887, are quite typical of
those two enervating styles. As the

_ fashion changed, so did his work, and the

public lavatory he built under thesea-wall
at Cromer is Edwardian Baroque; an
oddly spirited and taut design, encaustic
tiled with terra-cotta ornament, and two
large semicircular windows. The inside
is quite well planned, but ef necessity one
can only appreciate one-half of it.

To return to the problem of the factory‘
which these buildings confuse rather than
explain; the design seems to have been
purely a commonsense reaction to the
functional problem. The eloquent roofline,
for example; which is an eyecatcher for
the whole street, is in fact the first of a
series of north-lights, the rest of which are
hidden. Perhaps his attitude to it emerges
best obliquely—in 1910 he built a factory
in Norwich entirely of reinforced concrete,
with the resulting grid entirely glazed,
yet, wishing to add a little ‘architecture,’
he roughcast the elevations. This, like the
Chamberlin factory, was the first in the
area, and one of the first in the country,
yet any intimation that he was helping to
create a new architecture seems to have
been absent from his mind.

In fact, of course, he wasn’t: this building

» is as firmly in the functional tradition as

the Cobb at Lyme Regis. Twentieth
century Norwich started on its weary
Neo-Georgian shuffle (which has by no
means finished) without another thought
for the possibilities inherent in the Botolph
Street factory. The man today in Norwich
who wants to build a bungalow or a smal!

factory extension, or any other of the

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Two views of the Botolph Street factory designed by
A. F. Scott in 1903. 1, from the east. 2, a close-up
showing the assured detailing of the basement lighting.

things often done without benefit of
architect, finds the language of modules
and cross walls and floor heating far
above his head: what he needs is someone
to simplify the technical advances into
rules of thumb in the cause of getting them
across to people who wouldn’t otherwise
understand them. That is just what these
buildings of A. F. Scott are doing, accepting
the latest advances and translating them
into terms that can be applied to run-of-
the-mill building: adding extra chapters

to the handbook of the functional tradition.
Ian Nairn

STAND AT UTRECHT TEXTILE FAIR

Humour is not the most reliable ser-

vant the exhibition designer can

command, but a truly personal brand
of wit, disciplined by a firm sense
of exhibition architecture’s ultimate
aim—to sell an idea or a product,

not a designer—can occasionally

create a stand where jokes concentrate

attention, rather than dissipate it.
Lewitt-Him’s display for International
Rayon Trading Company at the Utrecht
Textile Fair of 1953, 1 and 2, remains a case
in point, and still bears scrutiny as an
original contribution to exhibition design.
Any client going to the Lewitt-Him office
would know that he was dealing with a
celebrated team of humorous designers,
and International Rayon boldly gave them

895

an unrestricted hand in the design, apart
from specifying minimal functional _re-
quirements. The result was a design which

harnesses a _ characteristically personal
colour sense and wit to the twin tasks of
catching attention and—having caught it
—directing it to the rayon thread which is
the client’s main product. The epitome of
this catching and direction of attention

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is the anthropomorphic chair—a functional
folly, an eye-catcher with an eye of its own,
capable of staring back at the visitor, or
encouraging him to stare at the company’s
product, for the chess-men on the table to
which the nearer chair-man attends are,
by a further double-take, spools of rayon
thread. P.RB.

DIAPERS
Though diapering and feigned rusti-
cation have hitherto been treated as
relics of an eatinct or provincial
vernacular tradition of illusionistic

painting on walls,* both devices have
utility for the contemporary architect

* Architectural Review, July and October, 1943; January,
1948, and October, 1951.

which should not be overlooked.

Beyond their obvious use as another
alternative treatment of flat surfaces, they
can also be made to solve visual problems
which might not otherwise be soluble
without distorting the functional or formal
qualities of a building, and an excellent
example of their use in this way is to be
seen in a small block of flats in Burghley
Road, Kentish Town, designed by Davies
and Arnold. The functional basis of the
problem lay in the section of the block,
which has the flats on either side of the
staircase out of phase by half a storey.
This permits a most economical use of the
stairs, with a flat opening off every half-
landing, but leaves the non alignment
of the window lines to be taken up in
some way on the elevation—a difficulty
which is not simplified at all by the
staggered staircase windows.

As the picture below shows, a bold
diaper pattern, whose module is_ the
square of the frames of the staircase

windows, not only serves to ‘lose’ those
windows in the all-over pattern, and thus
remove the visual discomfort of their
staggered arrangement, but also _pro-
vides a vertical strip of surface which
is in complete contrast to the walls on
either side, and thus separates the two
halves of the building visually. In addi-
tion, the very nature of the pattern,
with its strong diagonal emphasis, dis-
courages the eye from travelling hori-
zontally from one half of the fagade to the
other, and thus avoids any sense of visual

strain at the change of levels.
C. Forehoe

EXHIBITIONS

The Etty exhibition at the Arts
Council Gallery was one of those
thoroughly English occasions which
give us the opportunity to congratu-
late ourselves on being ‘nicer’ than
foreigners, for Etty’s nudes probably
represent the best results obtainable
from the difficult art of staring with

averted eyes. According to the catalogue,
the exhibition was a tribute to the work
of the greatest painter of the nude that we
have so far produced, but this was only a
euphemistic way of saying that we haven’t
had any great painters of the nude. Etty
didn’t have enough imagination to be able
to transform the naked model into a
classical goddess or a romantic femme
fatale, and seems to have been too shy to
be vividly literal, and the result, charming
enough in its way, was a solemn charade of
tense, pink girls in plastercast poses. The
delectably prim figure in the uncompleted
painting referred to in the catalogue as
‘Seated Female Nude,’ 1, is less affected
by his deplorable habit of pointing up the

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forms with an edge of black shadow than
some others, but even here it causes the
left arm and breast to look like a ‘com-
ponent’ that has been attached to the
figure by a nail. The catalogue note about
this picture was far from adequate. There
was no mention of the man and woman in
the background or of the curious horned
form on the left or of the fact that the
foreground figure wears a wedding ring or
even that the picture is unfinished. All
we are told is that it was probably painted
between 1840 and 1845, and that when it
was reproduced in a book published at
Leigh-on-Sea in 1943, it was called ‘Con-
templation.’ It’s a nice thought, but the
figures in the background appear to think
that the young lady ought not to be con-
templating whatever it is that she is
contemplating.

The Gauguins at the Tate Gallery looked
sadly worn and faded, as if they had been
exhausted by constant demands on their
vitality. They were well chosen and accom-
panied by an admirable catalogue, but
only half a dozen or so retain some shred
of the potency that made them the prize
stud bulls of twentieth-century primi-
tivism. Two of them—‘ Loss of Virginity’
and “The Moon and the Earth,’ 2, are badly
painted and
naively compos-
ed, but they are
clumsily success-
ful attempts to
turn inscrutable
experience into
pictorial sensa-
tion. The first of
these pic-
tures depicts an
impassive re-

two

cumbent nude at
the verge of a
red field. She is
fondling a fox,
which symbol-
izes physical
desire, and there

is a Breton wedding procession in the back-
ground. But one doesn’t need to know
anything about symbolism to understand
the picture. It is enough that Gauguin has
not given the girl any excuse for being
naked and has placed her in the proximity
of an unnaturally red field. Apparently the
picture is sometimes erroneously called

‘Spring’s Awakening,’ which is a _ con-
ventionalized acknowledgement of the

theme. Again, although “The Moon and the
Earth’ is an interpretation of a Tahitian
legend, one doesn’t need to know it. The
theme of sexual desire is explicit in the
forms, and an agitated pool of red water
clinches the matter. Red has been used
throughout the ages as a symbol of passion
but Gauguin gave it the directness of a
mating call.

If he were alive to-day, he would recog-
nize that Germaine Richier’s sculpture
owed him something, but he might be a
little surprised to discover that she has so
thoroughly cultivated her primeval
instincts that she seeks the roots of being
in the primeval ooze, 3. A large seated
figure in her exhibition at the Hanover
Gallery is a triumph of eclecticism and
sophisticated primitivism: she uses the art
of Picasso, Giacometti and Marini to com-
pound a figure with a fat body and stick-
like legs and two handles where the head
ought to be, and she manages to convey
the impression that it hankers after human
sacrifice. It is a kind of cult image,
dedicated to the breaking of natural ties,
and no vestige
of normal
human
remains.

The art of
John Bratby is
no less

feeling

fear-
some inits way,
and his second
exhibition at
the Beaux Arts
Gallery may
well be a sus-
tained ‘rasp-
berry,’ directed
against nothing
in particular

and emitted for the sheer pleasure of being
rude and crude. Oddly enough, his paint-
ings of lavatories, 4, do not confirm one’s
suspicions. They seem to have been painted
in a spirit of homage to Van Gogh, and
certainly express no contempt forthe human
condition. I think that, to put it timidly, the
lavatories and some of the kitchen interiors
may in time acquire the proper look of
masterpieces, and that if they were tem-
porarily glazed and decently framed the
process could be hastened.

If the most interesting of recent I.C.A.
shows was the one devoted to young
sculptors, it was because Ralph Brown’s
‘Girl with Wheel,’ 5, who looks as if she

has escaped from one of Jack Smith’s
paintings into a somewhat warmer atmos-
phere, laughed the rest of a ludicrously
extremist show out of countenance. It is
the work of a sculptor who can give a full
account of the human figure in movement,
and it looks as if he will be able to
command our attention without pulling
faces at us.

Michael Ayrton’s retrospective exhibi-
tion at Whitechapel Art Gallery suggests
that he is the modern equivalent of the
Victorian Narrative Painters. The exhibi-
tion is an impressive display of work done,
but his talent and intelligence should have
taken him a good deal further. Under the
early influence of Tchelitchew his skilful
draughtsmanship was switched to a
‘Renaissance’ siding, and has been off the
main track ever since. His attempt to
render the ‘distortions’ of modern pictorial
form literally and to treat the anxieties of
the time anecdotally lands him with
figures and situations as neurotically pre-
posterous as the ‘historical’ incidents in
the pictures of William Shakespeare Burton
and Alma Tadema. The drawing called
‘Approaching Thunder,’ 6, in which a group
of ‘mutants’ express a sub-human response

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to a natural phenomenon, is, unfortunately,
a typical example of his compositions with
figures. Robert Melville

MINISCULE
Lower case, little letters or miniscule—
what shall we call them? For un-
doubtedly they are important in
public lettering, not for monumental
purposes, but as a possible and suit-
able alternative for a multitude of
ephemeral and unpretentious uses.

There are three characteristics that I
would wish to note about little letters.
The first is this one of unpretentiousness,
one that we need so badly if our belettered
streets are ever to be a pleasure, and I
would suggest to the advertiser that this
does not at all imply inconspicuousness.
I give three examples: 1, the Dublin bus
stop notice is charming; it does not perhaps
suggest to one the completely reliable
efficiency implied in the London Transport
notices, something more friendly. I am
enchanted by that little word set so well
in its bordered rectangle, and so simply
on its post. 2, from Wigmore Street has
unfortunately been carelessly painted-in
but the incised letters have a very pleasant
rhythm, 3, seen in Nice, is an example of

the effectiveness of the unpretentious, to
convey recherché refinement.

A second characteristic is the adapt-
ability of little letters, particularly in a
cursive form, to various sorts of materials.

lettering: miniscule. Five examples of the
use of lower case letters 24 1, in Dublin;

2, Wigmore Street, London, < W.1; 4, ona
shop front at Cheltenham; 5, a fishmonger in

the King’s Road.

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There is the wooden, round-sectioned,
flourished letter, 4, of which one sees
many examples, of varying quality, this
is a particularly rich one from Cheltenham,
designed with verve and so much pleasure
in the multiplied curves. The same copper-
plate \etter is fascinatingly controlled and
proper in its continuous lead line, inlaid in

marble, on a fishmonger’s shop in Bath, 6.
It is cheering to notice how this trade at
least has preserved a tradition. For
instance, the fishmonger’s blackboard,
of which 5 is a typical instance, is

almost always a nice piece of lettering.
A modern version of the flourished hand
is painted on glass at Waterloo Air

Terminal, 7; the thin cursive has a
particuiar elegance and _ informality.
Aquascutum, 8, shows the modern free-
standing italic letter, and abroad one sees
particularly successful metal and neon
letters. La Maison Rouge, 10, is an example
of a metal ribbon set vertical to the wall

9

10.

at Nice. Bar Marseillais, 9, at Vence,
on the other hand, is flat strip metal. 11, is
an example of another typical modern
French letter, of bent metal tubing, a
far more sophisticated and interesting
type of cursive than one would see on the
corresponding provincial cheap restaurant
in England.

These examples immediately suggest the
third characteristic of the miniscule and
its greatest interest. Unlike any capital
form of letter it is fluid. There can be
variation not only of proportion butzin

BOR Mapseittais

899

the actual form of the letter. We have
lost the Gothic letter. To my mind it is
a great loss for it is a magnificent letter,
both formal textura and Gothic cursive
(not German Fraktur or 19th Century
commercial inventions), but it has become
hopelessly involved with Olde Worlde and
ecclesiology and Gothic revival and because
of these associations is unusable in
England today. For the extension of our
repertory and the enlargement of the raw
material of lettering as a creative art the
little letter is therefore a great asset. In
itself it has more variety than the capital,
if only in virtue of its descenders and
ascenders, and the inevitable contrast
with capital initials; it can so easily be a
nervous line and a living pattern.

But how shall we judge that one pattern
is better than another? Not by the type of
lettering, for 4 and 6 are good, whereas
the same model in 12, is utterly dreary.
Not by finish in design and execution for
18, from Cheltenham, has an irregularity
that is amateurish and yet I find it more

|
‘

pleasing than the perfect control of 14,
by Reynolds Stone. One cannot, I think,
dismiss all the factors of which one is
immediately conscious, for example, that
12 is a vulgar, and 14 an academic, and 6
a traditional craftsman’s way of writing,
for behind that is the writer’s intention
to make something showy, or in good
taste, or in the proper way. But beyond
that is the question as to whether or in
what degree the writer was an artist.
And here is surely a field where it is easy
to see that lettering can be the same
sort of thing as drawing and sculpture, and

must be judged in the same sort of way.
Nicolette Gray

LANDSCAPE

THE TEMPLE OF HEAVEN

The Temple of Heaven is a group
of buildings standing in a park in
the southern half of the outer city of

Peking. It lies to the east of the main
north-south boulevard upon the axis of
which is threaded the Imperial City, but
though thus eccentrically placed, the
principal buildings, and the courtyards,
gatehouses and ramps by which they are
connected, are given the same formal and
axial layout used everywhere in China for
ceremonial structures.

The buildings vary in age and dis-
tinction. Some of them are said to be
500 years old—others have been rebuilt as
recently as 50 years ago. All of them have
been carefully restored and redecorated
so that today they stand upon their
blindingly white marble terraces, glittering
in the sun like freshly unwrapped toys.
Handsome as they are in their metallic and
rather menacing livery of gold and scarlet,
green and blue, they are not all perhaps—
in memory at least—as individually re-
markable as many other of the palaces and
pavilions of Peking. But the handling of
the approaches and ramps, the subtle
relationship of buildings to courtyards,
and above all the contrasts of enclosure and
release, of suspense and relief, of movement
and repose—everything in fact that AR
readers have come to know as “Townscape’
—this surely cannot be matched anywhere
in China.

For the visitor indeed this visual
adventure can be said to begin a mile or so
away, when he passes through the gate of
the Inner Wall, and southwards along the
main central boulevard of Peking. This is
lined on both sides with shops and stalls,
and is as crowded and coloured and
clamorous as Oxford Street on Xmas Eve.
A quick turn to the left, through a formal
gateway set in a high wall, and a sudden
silence is clamped over the ears like a huge

felt hat. The road running straight ahead
is soft and sandy underfoot. On each side
are groves of cypresses, ancient and black,
in the depths of which, revealed only by
wisps of blue charcoal smoke, can be dis-
cerned a deserted encampment of army
tents.

At the far end of the avenue—perhaps
five or ten minutes’ walk in length—a
stone-paved ramp rises sharply into the sky,
1. What lies beyond? A garden? Buildings?
Could it be the sea? . .. The eye is given
no hint, but curiosity quickens the feet.

The summit is reached, the first secret is
revealed. The visitor finds himself standing
on a giant stone causeway that runs at
tree-top level to his left and right. Im-
mediately before him a small, almost
insignificant, viewing platform—placed for
some ceremony—overlooks another grove
of cypresses and across to the eastern
plains of Peking. Behind him stretches the
park through which he has just walked.
From the midst of it a bugle sounds

wistfully. Clearly there is somebody in
those tents after all. The causeway, grey
ruled and patterned, stretches for some-

0

Plan, after Ta Ts’ing hui Tien Tu, Ch. 1, reproduced in Universismus, by J. J. M. de Groot, showing the
progression described here. The central causeway is indicated by the arrow, and is approached from the left
hand side: the route, is then into the square courtyard at the top of the plan, back again and past the central

circular courtyard to the high altar below.

400°

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thing like 800 yards in each direction, and
is halted at each end by tiled gatehouses
of identical design, 2. Turning left first, and
looking down upon the cypresses as he
walks, he reaches the first gatehouse, 3,
mounts a few steps into a narrow twilight
and then, suddenly out again into a
courtyard filled to its brim with golden
heat. Centrally before him rears up a great

circular temple, blood-red walls crowned
with three tiers of blue tiles, the whole
structure mounted on a series of white
terraces ramped and balustraded, 4. To left
and right stand subsidiary pavilions now
used as museums, where ancient musical
instruments and the staffs and garlands

of dancers lie still and silent in the dusty
gloom. The quiet is absolute—only the
faintest crepitation of tiny sounds, the
movement of a branch, the shuffle of
a slippered foot, the creak of a closing
door, disturbs the summer air.

There is no escape from here, only
retreat. Back then along the causeway and
again through the sudden darkness of the
archway and this time behold not a square,
but a circular courtyard, and turned
moreover inside out. To left and right a

high tile-capped wall curves away ap-

parently unpierced. Again comes the
temptation to walk faster. Even the little
tea-garden, 6, set temptingly under the
cypresses fails to divert curiosity now so
urgently aroused. The tension is spun out
to the very end, for the entrance to this
circular enclosure is placed exactly at the

farthest possible point, 5, Within the pro-
tecting walls stands another temple, 6; out-
side them and to the south again stands
naked to the sky the climax of the whole
ceremonial sequence, the Altar of Heaven
itself, 7,...a vast 8-tiered marble terrace,
stepped and balustraded, every concentric
stone placed and fitted with exquisite
precision. From the summit of the topmost
terrace—the marble floor of which drums
to the feet like a stretched membrane—

the whole secret sequence of the Temple of
Heaven lies betrayed to the eye...
unfolding, leaf by leaf, as it were—to the
north and the distant golden roofs of the
Imperial City.

But if curiosity has been momentarily
conquered, the appetite of the eye has not,
nor will it ever be; and it is for this reason
that, of all places in Peking, it is always
to the Temple of Heaven to which the
traveller will return again and again.

Hugh Casson

ORGANIC PROPHECY

THE FUTURE OF ARCHITECTURE. By Frank
Lloyd Wright. Architectural Press. 50s.

The lectures and essays collected under
this title cover the whole range of Wright’s
thought from his interpretation of the history
of architecture to the ideas underlying such
works as the early Prairie Houses and the
Imperial Hotel at Tokio. They do, in fact,
claim to establish the principles of a universal
architecture, and it is in the light of this
claim that they should be read.

The importance of Wright’s architecture
to the modern movement lay in the free plan
generated according to internal necessity and
the new concept of space that this implied.
In the work of de Stijl, the Bauhaus and
Mies van der Rohe, this new freedom was
modified by ideas derived from the use of
concrete and steel, from the Cubists and from
the classical tradition. These factors to some
extent supplied the dynamic of the new
architecture but in Wright’s case the dynamic
is supplied from another source—a concept of
man in direct relation to nature. Whereas
in the European modern movement functions
of an inert and mechanistic kind are accepted
as form determinants, Wright conceives
function purely in terms of life. In expressing
functions, he seeks to unearth the ‘anima’ in

401

nature and his buildings are thought of as
materialisations of the natural proeess.

The fallacy of this theory lies in its equation
of the architectural with the natura! process,
and in fact Wright does not simply draw out
the forms inherent in materials and structure
or in the functional grouping of his spaces.
He imposes on materials and spaces forms
which dramatise certain natural formations
and create a sense of mystery, and on his
plansan organization which is crystalline rather
than organic. In seeking to recreate the
Gestalt of nature, where every process con-
tributes to a final and characteristic form,
he succeeds only in producing an additive
system which by its very nature is incapable
of achieving finality. He rejects the classical
tradition because it imposes rigid forms upon
nature but overlooks the fact that it is
precisely because the classical tradition sought
to express the order of nature by analogy.
and not by imitation, that it was capable of
an order proper to itself and was therefore
truly organic in its own right.

The force of the organic theory lies not
in its power to achieve form but as an
initiating principle—the living force, which
alone can prevent a formal grammar from
becoming academic. Wright in fact uses it in
this sense, but in order to achieve formal
legibility in his buildings he has to impose
on them his own anti-classical formalism—
a formalism every bit as unnatural as that of
classicism itself.

His theory of the organic, his anti-classicism,
his dislike of the city, can perhaps be traced to
the American pioneer spirit which had to create
a new tradition and a new myth in the face of
an overpowering natural environment. His
first Prairie Houses, whose inception he
describes in some of the most valuable passages
of the book, have the impact of natural
forces and the principles underlying them are
basic enough to stand transportation to
entirely different conditions. But when he
discusses the city, his attitude seems romantic
and escapist.

While Le Corbusier injects light and form
into the city, Wright seeks to take the
emotional aspects of the city into the country
—to strip the city bare of life and reduce it
to a machine for producing the means to
‘the good life’ to be enjoyed in rural surround-
ings. He accepts the products of the industrial
age, replacing the contiguous community
by the television set and the automobile,
but refuses to face up to the modern com-
mercial city without which these products
could not exist. His rural heaven depends on a
metropolitan hell and man the producer only
becomes human after he has commuted to
his acre. But to say this is merely to say that
Wright’s ideas were formed a generation
before those of the modern movement. The
Chicago school was for him only an inadequate
temporizing with conditions which were
totally bad, and it was perhaps impossible
for him to foresee the significance of a Sullivan
for the architects of the modern movement
who had to forge a new architecture out of a
living tradition, and for whom the modern
city and the machine were as much forces
to be placated as was the prairie for Wright.

We must therefore see Wright in his

if -
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a
4
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Jin-de-siécle context, with unacknowledged
formal and theoretical ties with the ‘art
nouveau.’ But to the extent to which he is a
solitary prophet with a message from the
desert far more radical than that of the Arts
and Crafts movement and a formal language
which, in spite of its ‘literary’ and ‘im-
pressionistic’ qualities, has so few stylistic
derivations, he is still a living force—a true
original. And it is perhaps less to the con-
science of the modern movement that this
great moralist speaks than to its lyrical
impulse, often inhibited by an arbitrary
rationale.

Wright’s ideas have had their greatest
superficial influence on the architecture of
the American West, but the publication of
this book gives us an opportunity to re-
assess their importance for the modern

movement as a whole.
Alan Colquhoun

CAMERAS IN THE OLD SOUTH

SHADOWS IN SILVER: A RECORD OF
VIRGINIA 1850-1900. By A. Lawrence Kocher

and Howard Dearstyne. Charles Scribner's Sona.

$7.50.

The Old South, they call it. But time plays
queer tricks in America. There are little
towns in Texas which one feels to be im-
memorially old, though in fact they were
founded in the 1840’s or later. In Virginia
it is the War Between the States—for in
Virginia you must never, never call it the
Civil War—from which time seems to start:
the bearded heroes of those years seem
infinitely stranger and more remote than the
English planters of colonial days or the
energetic and cultured Americans of the
early Republic. The buildings of that age

often seem older than colonial buildings too. —

But then, such is the zeal for restoration where
colonial buildings are concerned, they often
are older.

Most. of the photographs that Lawrence
Kocher and Howard Dearstyne have
assembled in this attractive volume were
taken in Virginia between the War and the
opening of the twentieth century. Nearly
all are the work of two photographers,
George S. Cook and his son Huestis. The elder
Cook was a Connecticut Yankee who began
his photographic career as a daguerrotypist
in New Orleans in the ‘forties, practised
in New York and Philadelphia and for
thirty years in Charleston, and set up in
Richmond in 1880. Huestis, who was born in
1868 and died in 1951, took advantage of
the invention of the dry plate about the
time of his father’s final move to become
one of America’s leading field photographers.
Messrs. Kocher and Dearstyne (architects
both, Lawrence Kocher being a former
editor of the Architectural Record) salvaged
the vast collection of Cook negatives from
the attic of a Richmond house, and had the
advantage of Huestis’s collaboration in the
tasks of selection and identification during
the last four years of his life. The text and
captions that they have written to accompany
the photographs are lively, informative and
warm-hearted.

Perhaps neither Cook is to be ranked

The horseshoe-shaped staircase of Berry Hill, Halifax County, Virginia, the home of a rich slave owner, James

Coles Bruce. The exterior of the house was severely classical, the portico being copied from the Temple of Theseus.

among the very greatest of the photographers
of the nineteenth century. Nevertheless, both
took many memorable photographs, and the
cumulative effect of this selection of their
work is impressive. As a record of a Virginia
that has disappeared it is valuable and
fascinating. Huestis Cook was the first
photographer to be admitted into many of
the old plantation houses, arriving by water
as often as not; so here is Rosewell, still roofed,
before the turkey vultures took it over, and
here is the outside kitchen of Tuckahoe with
a meal actually on its way to the house,
and here is Westover with a party of Colonels
and Majors and their womenfolk on the steps.
Then here is a section of views of towns, with
Richmond still nobly dominated by Jefferson’s
Capitol, and the streets of Yorktown, through
which today the Fords and Chevrolets and
Pontiacs endlessly roll, comfortably growing
grass. And one of taverns-—a class of building
that has been denatured in the half-dry
Virginia of today—and another of country
stores. And then the human architecture, no
less subject to ‘period’ than any other—the
portraits of the known and the unknown, the
idle and the industrious, the white and the
black.

‘A Virginia that has disappeared’ did I
say? Well, there is still some of it left, though
you have to be un-American enough to leave
the main roads to find it. In some parts of the
state you can still drive for miles along dirt
roads, spreading the dust on high walls of
Indian corn. There are still some plantation
houses, such as Shirley on the James below
Richmond and the Jeffersonian Bremo above,
where the sense of the past is strong. There
is a shop in Richmond whose fascia board
still announces ‘Dry Goods and Notions.’

Yes, the Old South is still sometimes old.
Marcus Whiffen

402

Shorter Notices

DIE MICHAELISKIRCHE IN HILDESHEIM.
By Hartwig Beseler and Hans Roggenkamp. Gebr.
Mann, Berlin, 1954, 50 DM.

St. Michael’s at Hildesheim is the most im-
portant German building of the early eleventh
century. It was badly damaged by an air attack a
few days before the end of the war. Dr. Beseler
and Herr Roggenkamp present a full set of
illustrations, measured drawings of the state of the
church before and after bombing, and two separate
texts, both detailed and learned. Dr. Beseler
discusses the history of the building and its present
state and reaches convincing new results on plan
and elevation of the period which matters most:
1010-c. 35 and especially on the remarkable facts
connected with the west ambulatory. Here St.
Bernward’s building had a crossing, transepts, a
square chancel and an apse—crossing, chancel and
apse being raised by eighteen steps above the nave.
Below it, but only two steps below the nave, lies a
crypt. This is low and vaulted and around it and
open towards it ran an ambulatory much higher
than the crypt, tunnel-vaulted, and provided with
a west portal and two doors at the other ends into
the transepts. This is a unique arrangement and
one of great morphological interest,

Herr Roggenkamp tries to rediscover the units
of measuring and the rules of proportions under-
lying the setting out of the building. He is, how-
ever, not fully up to date in his knowledge of
similar work done outside Germany in the last
fifteen years.

The book is, at about £4, not too highly priced
and as competently produced as it is written.

NP.
Books Received

ENGLISH FURNITURE STYLES 1500-1830, by Ralph Fastnedge.
Pelican. 5/-.
BAOTEN DER INDUSTRIE, by Walter Henn. Gallwey, (Munich).

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current waiaings of interest

BANK IN GARRICK STREET, W.C.2.

The basement and ground floor of 23, Garrick Street
have been converted to make a branch office of Martins
Bank, consisting of banking hall with clerks’ and
cashiers’ working space, manager’s office with ante-room,
strong room, cloakroom with cleaner’s store,’and a boiler
room. The wooden stair serving basement, ground and
first floors, which was on the west side of the plan facing
the front entrance, was taken out and a reinforced concrete

one, in two straight flights between the half landings, in-

1, new front to Garrick Street.

ARCHITECT, SIR HUGH CASSON
ASSOCIATE ARCHITECT, R. A. GREEN

serted in its place between ground and basement only,
together with a bullion hoist. The public entrance was
sarried across to the east side, leading straight into the
banking hall, from which the manager’s office is approached
through a waiting area. The ground-to-basement flight of
a second stairway at the rear has been sealed off, the
remainder now affording sole access to the upper floors.
A reinforced concrete floor replaced the previous wood

floor, and the wall piers were cut back and replaced by

:
briefly illustrated
4

|
| WAITING SPACE \\ \

MANAGERS OFFICE \\ \

CASHIERS

CLERKS

wale 1/12 in. = | ft.

Bank in Garrick Street, W.C.2.

new piers and concrete underpinning. The stair-well is trimmed off
by a 9-inch brick wall, supporting a trimmer for the first floor.
Otherwise all internal partitions are breeze. The only other struc-
tural alteration was the removal of an intermediate stanchion in the
main ground floor elevation, to give a clear span: twin reinforced

steel joists were put in, supported on existing but strengthened piers.

On the facing page, , 2, top left, manager’s office;
3, top right, waiting space with the door of the
manager's office beyond. 4, below, the public counter. The
partition at the end of it is marble clamp—fixed to a 3 in.
breeze block core. On this page, 5, a strip from one end

to the other of the street elevation: from left to right, door
handles, night safe and surround, and the bronze relief
by Geoffrey Clarke.

The elevation is in the form of a grille composed of sculptured,
closely-set vertical rods set against the glazing, the whole within
a white marble inner ‘mount’ and a black granite outer frame, which
carries the lettering above. A sculptured relief in bronze by Geoffrey
Clarke, illustrating by cryptograms the activities of Covent Garden
Market, traverses the whole elevation.

The irregularities of the internal wall faces were masked by
4-inch ply Indian silver-grey wood panelling; the flush doors have
same veneer. A suspended acoustic ceiling masks the beams support-
ing the first floor. Door linings, recess trims and built-in furniture °
are in Honduras mahogany. The banking hall floor is white cork
carpet. A plinth of the same material in black protects the wall
panelling.

Heating convectors, served by a gas-fired boiler in the basement,
are set within panelling and furniture. Beside suspended fluorescent
lighting for the cashier’s and a desk light fitting for each clerk, the
hall is lighted bygtungsten fittings shining on the ceiling.

SQUASH COURT AT OXFORD

ARCHITECT, STEPHEN GARDINER

The building for St. Anthony’s College, off the
Banbury Road, is designed to allow for the addi-
tion of a second court later. The requirements of
a squash court are simple, and to meet these the
sloping timber top is devised—to incorporate
louvres, stop off the brickwork at the highest
point of the playline, provide the 2 feet 6 inches
required above the playline at one end, and keep
the height of the gallery down to a minimum at the

other. Internally, colour has been used only to

405

6, interior of the court looking west to the gallery.

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7, the louvres above the
playline in the east
elevation. 8, staircase up
to gallery. 9, south
elevation with entrance to
court, from the south-west.

Squash Court at Oxford

aid the player. Above the playline the walls have

been painted apple green, except for the end wall

playline

4

which is olive green, and the ceiling, except for

the white steel joists, is cornflower blue to oution
focus attention on the play area which is white.

The staircase, which is without risers, is West African mahogany
and the door into the court is painted lemon yellow.

The construction is brick piers, concealed in the wall thickness,
which supports 10-inch by 6-inch steel joists on 6-inch square
concrete footings concealed behind timber boarding. Infilling
walls are externally local cream clay bricks and internally
6-inch blocks. The timber top is constructed of 3-inch by 2-inch
framing faced with 3-inch Canadian western red cedar strips,
and the roof itself is 3-ply felt on screed, on woodwool slabs,
on 7-inch by 2-inch joists. The flooring in the court is maple,
in the hall, granolithic.

20

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406

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407

1, mural by Nigel
Henderson on the foyer
wall, composed of
micro-photographs of
wood grains, enlarged

to different proportions.

SHOWROOMS IN HACKNEY ROAD, LONDON, E.2.

Designer: Clive Latimer

The showrooms of William Mallinson & | range of products the company manu-
Sons are in two parts: a veneer show- | factures and their applications. This second
room, where large veneered panels are | showroom has recently been redesigned, to
displayed, and, directly above it, the | a 8-foot grid, out of a typical warehouse
manufacturing showroom, illustrating the | floor, 60 feet by 24 feet, with a headroom

A MONTHLY REVIEW
OF BUILDING TECHNIQUES & INDUSTRIAL DESIGN

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SHOWROOMS IN HACKNEY ROAD, LONDON

of less than 8 feet, caused by large r.s.j.s
2 feet deep. The right-hand wall, looking
from the entrance, contained warehouse
windows at arbitrary intervals, which it
was impossible to clean. Thus the two
main problems of conversion were the
treatment of the ceiling and the use of
the only source of daylight while barring
the old windows from view.

A structural shell was built, giving a
false covering to the ceiling and each wall.

2 and 3, the wall visible consists of
chipboard panels, bolted and wired for
lighting at the rear. The 6-foot wide
sections of the ceiling are also invisibly
fixed on preforms. Below, 4, foyer,

and 5, detail of mural on right-hand wall.

LON 6 SBCTION

glazed

end

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PLAN

0246 8 Io feet

The ceiling is composed of obeche slats, in
ripple-form, rising to a maximum height
of over 9 feet under the longitudinal
beams, and built in sections of 6 feet by
24 feet, which are invisibly bolted together
and fastened to the joists above by sus-
pended hangers. The ripple is shaped over
moulded plywood preforms, placed at
8-foot centres across the room.

The left-hand wall is panelled with blue-
grey painted chipboard in demountable
3-foot units, and thus easily lifted out for
bolting and wiring at the back. The right-
hand wall is in stock birch ply wood and acid-
etched reeded glass, and leaves a corridor
from 15 inches to 30 inches wide between
it and the window wall, which supplies
illumination to the showroom and in
addition is lit by fluorescent strips above

408

(the old wall being painted white). It also .

ventilates the room by means of sliding-
door apertures above the glass screen and
three exhaust fans in the windows, and
contains chokes for the room’s ceiling
lighting and heaters at floor level, which
operate through grilles at the foot of the
glass wall. The end wall of the room is of
Macassar ebony. The floor consists of
1-foot squares of mahogany plywood, set
at right-angles to each other to obtain a
checker-board effect. The stand uprights
are placed on the centre of the 3-foot grid.
In the foyer, which contains seating and
a board for discussion of drawings, a
whole wall is occupied by a mural by
Nigel Henderson, composed of micro-

photographs of wood grains, enlarged to
different proportions.

2 3
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MW

The Architectural Review December 1955

call Carsons
to the Colours

We have, at Carsons, a department
specially staffed and equipped, backed by full
laboratory facilities, to help architects
decide the right answer to any problems connected
with paint or painting.
We invite you to call usin at any time;
you will find that we can give expert guidance
upon that most important matter—handling your
recommended colour treatment in the soundest possible way.
The Carson service—which incidentally is absolutely
free of charge—covers every aspect of paintwork in
and on buildings. We carry out examinations, provide
specifications, and visit the site to give any
necessary technical advice on the work in progress.
We have built up this service with very great

care, and we are proud of it.

It is at your disposal.

Manufacturers of Quality Paints since 1795

GROVE WORKS - LOMBARD RD - BATTERSEA + LONDON + S.W.11

Ixv

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The Architectural Review December 1955

JIGGED FITTING
SAVES MONEY

106,000 Ascot Jigged Walled Fittings have now been put into new
homes by 183 housing authorities.

How this fitting saves money is revealed by the following figures
based on actual costings.

EXAMPLE TWO
The effect of a Jigged Wall Fitting on the hire

EXAMPLE ONE

Cost of fitting an Ascot 503 sink water heater

sold for cash : z purchase terms for an Ascot 503/0 sink water heater:
Using a Jigged Wall Fitting which had been installed : Charge per week when the heater is connected to a
when the property was built ... £1.7.0 — £1.10.0 = Jigged Wall Fitting already installed 1/- -1/!0 per week

Normal installation without a Jigged Wall Charge per week including cost of normal installation

Fitting ... £4.00 — £5.0.0 = without Jigged Fitting ... 2/-—2/5 per week

CASH £3.0.0 WEEKLY SAVING..................say 9d

- Note: These figures may vary from one district to another, but are reliable averages.

The advantages of the Jigged Wall Fitting to the consumer and to the Gas Under-
takings are real. The Fitting is supplied by Ascot to Gas Undertakings at cost.
Vigorous efforts are indicated to get it installed in all new houses and flats ;
the cost of putting it in is trifling.

ASCOT GAS WATER HEATERS LIMITED + 255 NORTH CIRCULAR ROAD * LONDON += NWIO
A member of the Parnall Group of Companies WHG/A.104

Ixvi

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1, view showing centre of the department, filled by a cruciform display
unit, in which the removable backing panels are visible. 2, wooden-framed
glass wall-shelving and, 3, shelving for antique displays, steel-framed and

brass-trimmed.

SHOWROOMS IN VICTORIA STREET, LONDON, S.W.1.

Designer: Misha Black
A[ssistant designers: Ellis Miles and Philip Lucey
The glass and china department of the
Army and Navy Stores, Victoria Street,
5.W.1, is part of the ground floor and con-
sists of a room with entrances to other
departments on three sides, and four
Kdwardian Baroque columns in the centre.
The main display has been kept in this
central area as a focus: a central cruciform
unit and showcases around the bases of
cach of the columns. All these display units
are steel framed, stove-enamelled white,
brass trims and_= glass

with polished

shelving. Around the walls there is timber-
wall-
shelving, with
tables; and at the back there is a cashier

framed—mainly mahogany—glass

made up into alcoves
and a small packing office.

The room itself has white walls and a
pink ceiling; the central columns were
encased in mahogany to the depth of the
display cases. The aluminium dome re-
flector above the centre is painted matt
white.

All wall lighting is on brackets, and
the wall display cases have
architectural strip lighting. The
central area uses fluorescent
plus spotlights, above
an egg-crate. The centre is
varpeted; the rest of the floor

lights,

is cork tile.

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409

1, rear showroom, used
to display porcelain.
The ceiling,
incorporating adjustable
light fittings, is suspended
and painted deep blue.

SHOWROOMS IN BOND STREET, LONDON, W.1.
Architects: O. Gundlach-Pedersen and Ebbe Andresen.

The redecoration of Georg Jensen’s | porcelain, has a lowered suspended ceiling
showrooms in New Bond Street entailed | in which adjustable lighting units are
stripping the existing showroom and | incorporated. Here again Cuban mahogany
installing a new lowered ceiling and new | was used but the walls are mainly covered
eases and displays. The front showrooms, | with plaited Danish matting above cup-
displaying silver and stainless steel, are | boards of Oregon pine. The windows at
fitted with new Cuban mahogany cases, | the end of this room have aluminium
about 7 feet 6 inches tall, with matt | venetian blinds and the total floor area is

lacquered finish, closed in above with | covered with grey Wilton carpet. All the
flush panelling. On the left-hand side, a | visible electric fittings are Danish; the

special niche was incorporated containing | backgrounds have been left in_ their
a settee upholstered in red leather. natural colours, except for the ceiling,

The rear showroom, designed to display | which is painted deep blue.

2, a view of the rear
showroom, seen at right
angles to illustration 1.
The backing to the
display shelves is of
Danish matting; the
carpets are grey Wilton.

ay
Gye Seo |
3
FRONT SHOWROOM REAR SHOWROOM
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Entrance to Board Room of British-

American Tobacco Company Limited Foy anternal finishes

Designer: Professor R. D. Russell, R.D.I.

Photo by courtesy of British- th ere’ s no th Ing like WO OD

American Tobacco Company Limited

and the Council of Industrial Design

Issued by THE TIMBER DEVELOPMENT ASSOCIATION LIMITED

Ixvii

or COLLEGE HILL + LONDON + E.C.,4 and branches throughout the country

TO %

The Architectural Review December 1955 i
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VYDOK

The Perfect
Emulsion Paint
in matt and
eggshell finishes

DOCKER BROTHERS, Ladywood, Birmingham 16.

Ixviii

The Architectural Review December 1955

DOCKERLUX
The finest
Gloss Paint
in the world

4

LONDON SHOWROOMS: 17 BERNERS ST., W.!

Lye :
4
| é
—
i Mary | KERLU
pire
}
4

FORM IN GLASS

Opal glass is not a material commonly
Frederick Thomas &
Co. have embarked upon a range of lighting
fittings, 1, which rely for their effect

associated with art.

1, range of lighting fittings by Frederick Thomas & Co.

entirely upon the shapes and grouping
of the glass shades. The glass is three-ply
and England.
The
opal finish on the outside is ground to a

remarkably fine texture. The tall shapes

made in Sweden

opal

Inside, the shade is highly polished.

are evocative both of modern sculpture
and of the ancient world. They may owe
some of their charm to romantic associa-
tions with archaeology and more leisurely
cultures. We could do with more of this.
The shades can, as shown, be painted,
but there is absolutely no need.

2, multiple pendant fitting, the members of which can
be in any number and grouping desired.

8, single pendant fitting, with shade G309.

The first designs in this range to be
marketed are the pendant fittings. Suspen-
sion is by plain brass tube or by flex. The
flex emerges from a short length of tube
incorporated both in the ceiling unit and
the lampholder. This gives a quality of
finish quite rare in conjunction with
extreme visual simplicity. The units can be
assembled in any number and grouped as
desired, 2.

Prices. Shades, left to right, in 1: G295
£1 1ls.; G807 £1 16s.; G809 with fired

411

black decoration £2 18s.; G810 £1 17s.;
G298 £1 11s.

Suspensions. Single tube unit with satin
finish 2 inches BSS fixing plate and cover,
wired complete with BC lampholder £1 13s.;
flex, finished satin brass with matt white
inches BSS fixing plate,
wired complete with } inch diameter white
circular flex and BC lampholder £1 5s.

All prices quoted are retail prices subject

ceiling cup, 2

to an increase of 224 per cent purchase tax.
Diana Rowntree

WALLPAPERS

This
Manufacturers

compiled by Wallpaper
called the Palladio
range is particularly for the use of archi-
No one likes to be told what to
like, so the range starts off under a handi-

series
and
tects.

cap as far as architects are concerned.
Perhaps they are more intent than other
people on seeing that the wallpaper lies
back on the wall and does not compete
with the foreground objects. In this
sense Brackley Weave by Robert Nichol-
son, 1, is an architect’s wallpaper, a useful

bee etre WreBrete

1, Robeit Nicholson’s Brackley Weave paper.

addition to the well-designed small scale
wallpapers that have appeared since the war.

Columns, 2, arouses instantaneous re-
sistance, outraging the fossilised remains of
Renaissance lore in the buried strata of
our architectural education. A further
horrible suspicion arises that it is on these
columns that the ‘architectural’ pre-
tensions of the Palladio range rests. In

DESIGN REVIEW
:
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: 3
4
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usual

fact Nicholson’s
exercised in this design. Used in rooms

of contemporary proportions

powerful and useful background, capable of
giving a crisp and positive unity to an
undistinguished interior. P.

skill has

2, further examples of the ‘Palladio range’: 2, Columns, by Robert
Nicholson; 3, Avenue, by R. Nicholson, and 4, Pharos, by P. Devenish.

been | Pharos, 4, is another design whose scale
has been carefully and successfully con-
sidered, unlike Columns it is probably
best used with minimum contrast in tone
between the motif and the background.

The really outstanding paper is Nichol-

it can be a

Devenish’s

son’s Avenue, 3. This is imaginative and
painterly. The simple motif and layout
makes a masterly contrast with the broad
handling of the paint. It is due as much
to the technique by which the line is
applied to the paper as to the rich subdued
rather dirty colour, that one thinks of this
design rather as a painting than as a
pattern. We have seen this assurance and
atmosphere before, in a range designed by
painters, and I think it is an aspect of
wallpaper design that is underdeveloped.
If Wallpaper Manufacturers Limited are
right in their flattering assumption that
architects go for atmosphere, perhaps they
will commission more designs of this kind.
Anyone who has bought wallpaper knows
the appalling difficulty of envisaging the
effect of a large wall surface from a single
coiling length of paper. There is bound to
be an element of risk in such a choice.
If you cannot be quite safe, why not
back your fancy in this field, where the

results after all are not irremediable?

Prices: Brackley Weave 26s. per piece
Columns
Pharos...
Avenue

D.R

ARCHITECT/MANUFACTURER CO-OPERATION IV

In the September issue we began our account of the collaboration between the Arcon group of manufacturers
and their architectural consultants.* In it we discussed work done in the immediate post-war period when
Arcon, like everyone else, were chiefly concerned with housing. This month we conclude by outlining Arcon’s
second phase, when the centre of interest shifts to the design of whole structures for export; and by discussing

their research into the design of building components which, in the architects’ view and ours, has always

been the key to the experiment.

The pattern of development which
ensued from work on the demount-
able house has been followed on all
Arcon’s later projects. Research
leads to preparation of a design,
which is realized in a prototype. The
design is then manufactured on a
pilot run and is finally put into mass
production. Mass production, how-
ever, does not necessarily mean the

* The firms which now constitute the Arcon
group are as follows :—Imperial Chemical
Industries Ltd., Stewarts and Lloyds Ltd.,
Taylor Wocdrow Ltd., United Steel Com-
— Ltd., Williams and Williams Ltd.
‘ntil 1952 the design consultants were
Edric Neel, Raglan Squire, Rodney Thomas
and A. M. Gear, who worked together under
the name ‘Arcon, Chartered Architects.’ On
the dissolution of this partnership in 1952
and the taking over of the name Arcon by
the manufacturers, Rodney Thomas and

Gear collaborated together as the
group’s consultants from their separate offices.

by Noel Moffett

Taylor Woodrow now formed a
subsidiary company, Taylor Woodrow
(Building Exports) Ltd., to market
Arcon products abroad. A prototype
was erected at Southall and an order
for 1,400 bays was placed by the
Anglo-Iranian Oil Company. This
design with small modifications con-
tinued to be the main building in
demand for the next four or five
years. However, the Tropical Roof
suffered from an inflexibility due to
there being only one fixed span and
bay width. The initial design was
rather based on the Anglo-Iranian
Oil Company’s requirements and
further research showed that far
more economical buildings could be
attained by relating the span and
bay width to the maximum span
under certain loadings of the purlin
used and the maximum spacings of
purlins to take various sheeted
materials. On this basis three spans
were designed, the increase in span
being in each case related to the

conclusion of development, for the
Arcon consultants like to think of all
structures as prototypes, to be
modified as soon as modification
becomes desirable and feasible. This
is particularly true of the long series
of roof structures which occupied the
Group’s attention after the Arcon
Mark V_ house. In 1946 Group
members found that they could not
get licences for steel, timber and other
materials for building in this country.
They therefore called on_ their
architects to look into the possibility
of designing for overseas markets.
It was found that in many countries
of the world there are satisfactory
indigenous materials of which walls
and partitions may be built. Every-
where, however, there seemed to be
a very real problem in constructing

roofs of a permanent nature for all
types of buildings. At the instigation
of Edric Neel, the Arcon Tropical
Roof was therefore designed to meet
this situation. The design was based
on the double leaf principle, an outer
roof providing protection against the
weather—particularly against the
heat in hot climates—with an inner
ceiling so arranged as to ensure that
an uninterrupted flow of air between
the roof and the ceiling maintained a
reasonable temperature inside the
building. The span chosen was
80 feet, the structure was tubular
steel designed to resist hurricane
conditions and the cladding corru-
gated asbestos sheeting. On the
ridge a curved sheet was used in
place of the orthodox ridge piece to
avoid traditional complications.

412

addition of an extra purlin on
each roof slope. Three different
eaves extensions and varying ceiling
heights were designed on the same
principle, together with a system of
forming hips, ‘T’ and ‘L’ junctions.
All these variations helped towards
the possibility of the structure which
was called simply the ‘Arcon Roof,’
1, being erected in over two thousand
different ways. This, of course,
overcame the inflexibility of the old
Tropical Roof, and at the same time
uses components designed to their
maximum structural efficiency.

One of the problems endemic in an
organization such as Arcon is how to
determine what work is to be done
next. The architects themselves
divide their work into three cate-
gories: fundamental research into

[continued on page 413

Tink
|
2 3
TECHNIQUES
ayy
|

The Architectural Review December 1955

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sealing the eaves
LINTOL

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FINLOCK metal linings are
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FINLOCK GUTTERS LIMITED
FINLOCK HOUSE 25 FRANT ROAD TUNBRIDGE WELLS KENT Telephone: Tunbridge Wells 3396/9

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EXCITING new Tibor Textureprints, woven
in high quality textured cotton, incorporat-
ing Lurex non-tarnishing metallic thread.
In guaranteed fast Vat colours, they com-
bine the beauty of colour weaving and
printing. The design illustrated is called
“Avocado”. Produced by: Tibor Ltd.,

Stratford-on-Avon.

DECEMBER, 1955

stockwell

vicEROY deep all wool pile rug with
textured effect, available in a variety of
colours and sizes to your specification. In
three grades, “Standard,” “Super” and
“Supreme.”” The design shown is “Carib-
bean”’ by Tibor Reich, F.S.1.A. Produced
by: S. J. Stockwell and Co. (Carpets) Ltd.,
16 Grafton Street, London, W.1.

The Architectural Review December 1955

MStevens®

THE “BALMORAL” CHAIR designed by Ronald
E. Long, M.S.I.A., is an example of the new
range of upholstered furniture by R. S.
Stevens. The outside is covered in Tibor’s
deep textured wool fabric “Mesh” Black/
White with “Stratford’”’ Black on the inside.
Produced by: R. S. Stevens Ltd., 209 Wood
Street, London, E.17.

)
4 5
Ixx
~

Fcontinued from page 412]

1, Arcon roofs in use at a workers’ camp at Kuwait. Note the ventilated roof space and the use of local walling.

the design of components, the
application of this research and the
design of structures. It is, of course,
the last of these which is the most
immediately rewarding to members
of the Group and the first which is,
from the point of view of ‘Archi-
tecture,’ the most interesting: but it
is the experience of the architects
that the design of structures for
immediate marketing contributes in
unexpected ways to their long-term
research in components. There is no
general pattern for determining
which projects shall be undertaken:
sometimes the Group members or
the Marketing Agents, as the result
of information received from their
representatives, suggest a particular

line of development or the Con-
sultants themselves, through their
knowledge of architectural and
structural problems, submit their
own proposals. Whatever the reason
for starting a project, all have to go
through the same drill before they
are ready for marketing. First
approval of the project by the Arcon
Executive Committee, which meets
ach month and is composed of
representatives of the Sponsor Com-
panies and the consultants, then
Research, Testing, Development,
Prototyping, Pilot Run and finally
Production.

Whilst there is a certain amount
of time spent in obtaining infor-
mation which is of general use, most

of the Research is devoted to
particular problems or projects.
Having prepared designs in some
detail, the Consultants then col-
laborate with the various manu-
facturers concerned in order to
determine the best materials and
methods of manufacture, at the
same time contacting the Marketing
Agents in order to ensure that they
have taken account of the problems
likely to arise in transport and
erection.

When any necessary modifications
have been made, the Consultants
prepare preliminary costs and maybe
erect a number of mock-ups or
hand-made components to test out
their ideas. If it is agreed to continue

the project, it then moves to the stage
of development, where the Con-
sultants prepare detailed component
and general arrangement drawings
and agree these with the manu-
facturers before the Marketing Agents
obtain firm prices.

A prototype is erected from the
first run-off and a check is made
of the dimensional accuracy of the
building, when the methods of
packing and of erection are finally
settled. In most cases drawings have
to be prepared for an _ erection
booklet which has to be translated
into five different languages.

All buildings in production are
under constant review by the Con-
sultants and the companies con-
cerned, and if modifications are
necessary they are prepared by the
Consultants and introduced into
production at a time agreed with the
manufacturer and the Marketing
Agents. During this period the
Consultants are carrying out what
is termed ‘Technical Service’ that
is to say, preparing drawings showing
how the buildings can be used for
different purposes, advising on the
structures under different conditions,
and preparing details of any special
component required for a particular
job.

In addition to the Tropical and
Arcon Roofs, a wide range of struc-
tures varying in size, shape and
function has been developed, along
with alternative forms of cladding,
partitions, windows, etc. Since the
dissolution of the Arcon partnership
this work has been carried out in
A. M. Gear’s office. So far as the
export market is concerned the
buildings or components may be
divided into three groups:—

(1) Industrial buildings (factories,
godowns, transit sheds, etc.).
(2) Amenity buildings (hospitals,
welfare buildings, offices, schools,
etc.).
(3) Housing, of many types and
standards.
So far as this country is concerned,
the main accent, to date, has been on
industrial buildings for light manu-
facturing processes and _ storage.
These include a_ storage building
which enjoyed a phenomenal com-
mercial success, 4, a prefabricated

Three structures developed by Arcon: 2, three-pin
portal frame designed for use in an open-sided
building with locally constructed walls. The
salient characteristic of this structure is its
extreme lightness and simplicity of erection.
3, an Arcon sawtooth roof in a factory at Brack-
nell. Note the stressing wires in the plane of the
roof.4, an Arcon storage building (50 feet span)
in process of erection at a Government sisal
factory in the Dominican Republic. The tubular
purlins are fabricated into a pole which can
serve to hoist the trusses when they are assembled
on the site.

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timber house designed for the
Australian Government, a saw-tooth
roof (principally for the cotton and
jute industries), 3, and a three-pin
portal frame for use in school build-
ings in Ceylon, 2.

research

It has been pointed out that the
consultants’ research work is divided
into two categories: component
research and the application of
that research. Thomas has called
this side of their work ‘The design
of pieces with which to build and
the use of those pieces.’ This design-
ing of building ‘pieces’ is a con-
tinuous process and the architects
use their components in all their
designs for buildings and for com-
plete structures. There is one applica-
tion of component research, how-
ever, which is especially important.
This is a curious building erected
in 1944 at Witton in Birmingham
and designed by Gear and Thomas

secret -fix

ICI felt that their corrugated
aluminium sheet, designed for both
roofing and wall cladding, was not
as popular as it should be because
it was necessary to fix it to roof
purlins and wall frames by bolts
and washers in a similar manner to
corrugated iron or asbestos. Thus,
although it was a better and more
expensive material, it was associated
in people’s minds with these cheaper
materials. Also the washers and
bolt heads, being exposed to the
weather, sooner or later produced
unsightly weather stains on the face
of the sheet. The solution found
consists of an extruded aluminium
alloy cover strip, with a profile
identical to that of the trough-
shaped corrugation of the sheet, so
designed as to receive on its under-
side the head of the fixing bolts, these
in turn being secured to the purlins
or sheeting rails by special clips.

This ‘secret-fix’ method has now

5, experimental building at Witton in Birmingham designed at the request of the Metals Division
of ICI to test the behaviour of non-ferrous metals in conjunction with other materials.

at the request of the Metals Division
of ICI, 5, with the particular idea
of observing the behaviour of non-
ferrous metals and aluminium alloys
in combination with other building
materials. The strange shape of the
building is due to the fact that it
illustrates as many situations as
possible where these materials could
or might be used. The building is also
designed so that further components
and new materials may be inserted
at any time and their weathering
qualities and erection technique
tested.

The architects consider that it was
built too early from an economic
standpoint. Many of its features
are still at a controversial and
experimental stage of development,
and it will be many more years
before its value will be appreciated.
The roof was concrete and the sides
curtain walling with prefabricated
wall, window and door panels all
of a carefully calculated modular
size and thus interchangeable.

In the category of ‘component
research,’ which the architects regard
as the most important part of their
work, much of interest has been done
in both offices. Three examples have
been chosen which it is hoped will
‘give some idea of the very wide
| Tange covered by this research,
nase, *secret-fix’ and curtain
| walli ig. developed in A. M. Gear’s

been patented by ICI and is marketed
as ‘Kynalok secret-fix cladding,’ 6.

curtain walling

Taking advantage of the experi-
ments in the use of curtain walling
earried out on the ICI building at
Witton, a new system was designed
in 1952 using a framework of

6, ‘Kynalok’ secret-fix cladding. Detail showing the system used in conjunction with a range of
standard factory windows. Note the absence of bolt heads.

aluminium extrusions into which
could be fitted windows, metal or
plastic panels and glass or similar
sheet materials. A prototype com-
posite panel was erected at Southall
for the purpose of examining the
behaviour of a great variety of
materials and of testing the design
of transomes and mullions, 7. Some
interesting discoveries were made.
A stainless steel sheet in the form of
a flat pyramid was designed and
specially manufactured. The ‘mock-
up’ infilling sheets were hand made
with one side of the pyramid welded
and, when a tool was designed for
mass-production pressings, it was
found that there was a danger of
penetrating the sheet at the point of
the pyramid. For this reason the
apex of the pyramid was deleted and
a small flat pane! substituted, 8. The
horizontal cill members had at first
been designed on traditional lines

7 .prototype curtain walling panel set up at S

thall. This

with a drip which allowed water,
running down the face of the building,
to drip clear of the panel beneath the
cill. After the ‘mock-up’ had been
exposed for several months it was
found that the upper part of the
panel was staining rather badly,
while the lower portion was clean
where it had been washed by the
rainwater. A new head glazing
bead was, therefore, designed which,
instead of forming a drip, allowed the
rainwater to run down the complete
face of the panel. By this means,
the whole surface of the panel is
now weathering evenly.

dimensional research

During the evolution of the design
of the Mark V temporary house the
Arcon architects had designed a
series of ‘cover technique’ details to
cover the junctions of prefabricated

ists of a frame built up of aluminium extrusions with pyramidal panel infillings made

of stainless steel. In this version the panels run to a point in the apex. Later a small flat rectangle was introduced into the centre to give better wear
and cheaper manufacture. 8, curtain walling as manufactured applied to an office block designed by A. M. Gear for Messrs. Samuel Foz.

414

[continued on page 416

A
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poe prehensive dimensional research.
||

The Architectural Review December 1955

-Specity
solid fuel for
the heating

For continuous domestic heating, solid fuel is still far and away the
cheapest fuel. And, used in modern appliances, it is far more efficient
than ever before. New fires, for instance, with restricted chimney throats |
and convection jackets, give up to 40 per cent more heat from the fuel. |
Like the new stoves, cookers and boilers, they’re much easier to run,
quick to clean—and very well made.

For dwellings of all kinds these up-to-date appliances are a wise—and |

farsighted—choice. They will give years of fine service economically.

HOW TO GET THE FACTS

The Coal Utilisation Council has , in co-operation with the Solid Smoke-
established various services to help | less Fuels Federation and are yours
you get the right appliances for each | for the asking.

job and ensure correct installation. The ¢€.U.C. publishes booklets on
Recommended Appliances Lists of | appliances, their installation, fuel
recommended domestic solid fuel | storage and insulation, all of which
appliances are published twice a year | would be uscful to you or your staff. |

and far more efficient
with the latest appliances

If you would like copies of all, or

| some, send for them by filling in the

coupon below.

| C.U.C. Training Centres where courses

are held in London and Glasgow for

| architects’, local authorities’ and build-

ers’ staffs. Instruction in correct
installation is given by experts. These

' Training Centres can be visited by

housing officials, architects, builders
and others professionally interested in
domestic heating by appointment. For
those who cannot attend courses in
London and Glasgow, special one-day
courses are held in Technical Colleges
in various parts of the country.

C.U.C. Information Centres in many
major cities display the latest appliances,
have leaflets, and can give you expert
information. See the addresses below.

C.U.C. INFORMATION CENTRES

Birmingham : Burlington Passage, New Street.

Bristol : 5 Broad Quay, City Centre.

Cambridge : 24 St. Andrew’s Street.

Cardiff : 9 Castle Street.

Glasgow : 341 Bath Street.

Leeds : 99 Albion Street.

London: The Building Centre, 26 Store Street, W.C.1
Manchester : 257 Deansgate.

Newcastle upon Tyne: 18 Saville Row.

Nottingham : 4 & 6 St. Peter’s Gate.

Please send me the following:
List of Recommended Domestic Solid Fuel Appliances
Details of C.U.C. Installation Courses
And also copies of booklets:
Warmer Homes with Solid Fuel
Architectural Design Data for Solid Fuel
Fuel Stores for Houses and Flats
Make Your House Cosier in Winter (Insulation booklet)
(Please cross out those not needed)

SEND COUPON FOR FREE BOOKLETS

Tothe Coal Utilisation Council, 3 Upper Belgrave St., London, S.W.1

.

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continued from page 414]

wall, floor and ceiling panels. They
later considered these design details
crude and unsatisfactory, but they
had nevertheless served to show them

in 1951 the Group members
allocated a sum of money for research
into the use of interchangeable

basic pieces

structural tolerance take up piece
edge conversion piece

make up piece

plan

were of the same thickness, had the
same edge shape and were manu-
factured to the same tolerance. The
units already on the market varied
in all respects.

The architect therefore had to
undertake some ‘pure’ research,
taking a detached view and going
back basic principles. He

ceiling |

section

9, diagrammatic plan and section showing Rodney Thomas’s proposals for attaining interchange.

ability in panel construction.

components which could be used
to build a wide range of prefabricated
houses, designed particularly for
export to other countries. Rodney
Thomas undertook this research,
which has become what may well be
considered the most important work
earried out by the Arcon organization
since its formation in 1943. So as to
make the components of the Export
House interchangeable, the first de-
signs were based on a modular size.
Thomas realized, however, after
examining the problem in detail,
that the module permitted inter-
changeability only if all components

worked on this research for three
years, and in June of this year he
presented his findings to the Group
members in the form of a colour
film explaining his proposals step
by step.

Thomas claims to have worked out
a dimensional system which enables
the architect—any architect—to
build accurately to any dimension
with different ranges of mass-
produced components and to fit
them all together without scribing,
irrespective of their surface dimen-
sions, thickness and edge shape,
so as to provide as much dimensional

freedom in prefabrication as_ is
possible with traditional methods.

Anyone who has designed for
prefabrication and mass-production
accepts the inevitability of manu-
facturing inaccuracies and his designs
always allow for ‘tolerances,’ which
are usually calculated as occurring
somewhere between a stated maxi-
mum and minimum. The Arcon
consultants had already designed
various forms of flexible joint to
deal with this dimensional expansion
and contraction. Thomas now dis-
covered that the varying space at the
joints really played a more important
part than the components themselves.
Joints designed to take up mechanical
movement caused by tolerances
could also take some of the other
dimensional burden. He still talks
of the excitement which followed his
realization that a shop-keeper can
weigh anything in his shop with only
a very few weights, and that he could
apply the same principle to the
problem of dimensions by selecting
a series of dimensional ‘weights’
and applying them at predetermined
points. It was obviously desirable
that there should be as few dimen-
sional pieces as_ possible. Five
‘weights’ of 1, 2, 5, 8 and 9 inches
were chosen, from which ‘dimensional
units’ could be formed to deal with
inches (or centimetres), fractions
and tolerances. With the addition
of a foot ‘weight’ an architect could
now build to infinity with complete
accuracy, the foot sizes being in-
corporated in the building com-
ponents. Conversely, he could leave
an opening in any length of wall
of any dimension and could therefore
mix components of any size together,
even if some were in feet and others
in metres.

This means that building can be
put on a ‘Meccano’ basis and any
new ideas and techniques can at

any time be accommodated and
combined with other techniques.

It is too early to tell if this
particular departure will come to
any good—for the mere ability to fit
parts together is not the be-all and
end-all in building: but it is interest-
ing that a group of manufacturers
should have instructed their architect
to look into a matter which up to
now has been nobody’s business.

conclusion

Perhaps the first point to be made
in conclusion is to remark on the
value of the architect’s presence in
an organization of this kind. Now
that industrial concerns have become
the originators of architectural form
—or at least of building component
form—it is important that architects
should be present to assist them.
Many industrial firms have architect
consultants: the special significance
of this particular consultancy derives
from the fact that the clients are a
group of firms, covering between
them a wide variety of building
materials, and that they have
grouped together precisely in order
to investigate the common use of
these materials in building. It is this
underlying purpose which makes the
design of components of greater
importance than the structures in
which they are progressively em-
bodied. These structures have great
historical interest in that they are
the best answer that a very resource-
ful organization could find to a
given problem at a given moment,
and as such they represent a kind of
pioneering which must be done if
we are to get an_ industrialized
building which we can unreservedly
describe as ‘architecture.’ Thus it is
that their most lasting value must be
sought in the experience their design
has occasioned.

[Trade Notes on page 4/8

THE LIMMER & TRINIDAD LAKE ASPHALT CO. LTD.
STEEL HOUSE, TOTHILL STREET, WESTMINSTER, S.W.1I

TRINASCOL/N—
THE LIMMER € TRINIDAD

TELEPHONE: WHITEHALL 6776

416 (Ixxii)

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The Architectural Review December 1955

An example of a hotel
purpose-made window.
A general view show-
ing the pleasing facade
enhanced by Beanes
windows.
by cour-
tesy of the Proprietors
Tavistock Hotel,
td.

In an age of standardisation
and mass production, there are still
some trades which require the exercise of
human skill and ingenuity. One of these is
the ancient craft of metal working seen
at its most dexterous in the fabrication
of purpose-made metal windows.

We like to think, as one of the oldest and
most experienced practitioners of this craft,
that it is our business to give practical
expression to your finest thoughts—in fact, to
make what you create. Why not write to us
and find out more about our purpose-made
windows, and how they can be of use to you in
working out problems to which there
is no ‘standard’ solution,

Lxxiii

|

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| KE An,
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continued from page 416]

WOOD CASEMENTS

Janes’ Modolite Joinery is a range of
wood casement windows and doors which
sets out to supply every kind of user from
the speculative builder with his five-light
circular bay to the County Architect with
his horizontal pivot hung. Alternatively, it
might be described as a system of detailing
which shows cill, head, wall stud, mullion
and transom of constant section and which
confines sectional variation to the window

itself and to an inner frame. This produces
a sturdy result and allows wide variation

in dimension and use at reasonable cost,
though designers may find that the

resulting detailing is too heavy for some

purposes.
H.C. Janes Ltd., 183, High Town Rd., Luton.

OIL FIRED BURNERS

The article in the July issue of the AR
on ‘Domestic Oil Burning Equipment’ was
confined to equipment burning Class ‘A’
oil. It did not discuss paraffin burners
because at that time these were virtually
confined to the humble portable type. For
some time, however, the Valor Company

has been developing a paraffin conversion
unit which has been on sale in the Bir-
mingham and Croydon areas during the
past year and is now being marketed
nationally. The unit is produced in two
sizes with outputs of 25,000 and 50,000
BThU’s per hour respectively, and com-
prises two parts: a burner which is designed
to fit inside most makes of solid fuel boiler
and a 3-gallon container which rests on a
stand at the side of the boiler and which
passes paraffin by gravity to the burner.
These burners use a relatively expensive
grade of oil, but the cost of the equipment
is of a much lower order than Class ‘A’ oil
burners. The price of the 25,000 BThU
model is £11 15s. Od., and of the 50,000
BThU model £13 5s. 0d. To this must be
added a small installation charge.

The Valor Co., Ltd., Bromford, Erdington,
Birmingham.

GLASS CLADDING

Whether or not we like the polished black
glass of the Daily Express building and the
vitrolite shop fascias of the ’thirties, we
cannot question their wearing quality.

The chief objection heretofore to using
[continued on page 420

WALLPAPERS

4
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OUR NEW WALLPAPER PATTERN BOOKS
__-:213-216 TOTTENHAM COURT ROAD LONDON: WE”
418 (Ixxiv)

The Architectural Review December 1955

By appointment
to Her Majesty Queen Elizateth II
Manufacturers of Kitchen Equipment

Designed for Quicker Service

Brighton Station Refreshment Rooms. Contractors: Messrs. Gates & Sons (Builders - Shopfitters) Ltd., 1, North
Road, Brighton.

A complete self-service counter has been installed for the British Transport Hotels
and Catering Services at Brighton Station refreshment rooms (see photograph). The
counter contains a tea and coffee service unit, consisting of a 4-gallon coffee machine,

two 2-gallon milk urns and a recessed tea pot warmer. Also provided are a gas heated
service top hot closet, rack storage and cold sections and a stainless steel waitress tray
shelf. In order to economise on floor space, the countering shown was designed in
collaboration with the Architects.

W. M. STILL & SONS LIMITED

Manufacts Ad 2 overt SC (YOu Ad
Cc

REGISTERED OFFICE:
29-31 GREVILLE STREET, LONDON, E.C.1. Telephone: HOLborn 3744

BRISTOL 66-68 Gloucester Road North, Filton, Bristol 7. Filton 2709
BRANCH OFFICES: MANCHESTER 14 Cathedral St., Corn Exchange Buildings, Manchester. Blackfriars 5778
GLASGOW 136 Renfield Street, Glasgow, C.2. Douglas 0444

AP 243.91

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continued from page 418]

glass cladding has been that the glass
itself is too expensive and that there is
no guarantee of permanence for the colour
which must be used on the backing.
The first of these objections is diminished
and the second overcome by Messrs. Pil-
kington’s ‘Muroglass.’ This is a }-inch glass
which may be either rough cast or wired,
and which is made, as yet, in six colours,
with two more promised and with the
assurance that the architect has a good
chance of obtaining a colour of his choice
for quantities of not less than 10,000 square
feet. ‘Muroglass’ is made in one operation,
by applying a film of vitreous enamel to
the main sheet while it is being fired, which
results in a single piece of glass with a
thin skin of opaque coloured glass on one
side. The finished product sells for 3s. 6d. to
4s. per sq. ft. and may be obtained in widths
up to 48 in. and lengths up to 100 in.
Pilkington Bros. Ltd., St. Helens, Lancs.

House in Yorkshire. Architect: Peter Womersley.
General contractors: Law Stead & Sons. Sub-
contractors: Pre-cast concrete floor: Johrt Cooke &

Sons. Asphalter and roofer: Northern Asphalt &
Roofing Works Co. Carpenter and joiner: Taylor &
Hobson Ltd. Steel and ironwork: S. S. Thompson
& Son. Plaster and partitions: W. E. Jowitt Ltd.
Glazier and plumber: H. C. Stringer. Heating and
hot water: Hayes Heating & Steam Services Ltd.
Electric lighting and power: T. W. Broadbent Ltd.

House at Leicester. Architects: James Cubitt
& Partners. General contractors: A. E. Cox & Co.
(Builders). Sub-contractors: Facing bricks: Fisons
Ltd. Roofing joists: Benfix Ltd. Roofing slabs:
Thermacoust Ltd. Heating installation: Haden &
Sons. Woodblock floors: Horseley Smith & Sons.
Linoleum: Cellulin Flooring Co. Metal windows:
The Crittall Mfg. Co. Glazing: Pilkington Bros.,
and Plyglass Ltd. Electrical: C. N. Rogers. Door
furniture: Alfred G. Roberts Ltd. Sliding door
gear: A. Hill Aldam & Co. Slate shelves: C. Collins
& Sons. Sanitary fittings: Stitson Sanitary Fittings.
Slate cills: Hall & Co. (Brentford). Kitchen roof-
light: T. & W. Ide. Kitchen fittings, cupboards and
cooker hood: Ezee Kitchens Ltd. Fittings and fur-
niture: Andrew Pegram. Wall tiling: Carter & Co.
(London). Veneers: Mallinson & Sons. Fireplace
surround: Wessex Guild. Light fittings: Troughton
& Young (Lighting) Ltd.; George Forrest & Co.;
Merchant Adventurers of London Ltd.; Finmar
Ltd.; W. D. Developments. Furniture: Finmar
Ltd.; Hille of London Ltd.; Conran Furniture.
Materials and soft furnishings: Primavera Ltd.
Shelf fittings: Church & Co. (Fittings).

Bank in Garrick Street, W.C.2. Architect: Sir
Hugh Casson. Associate architect: R. A. Green.
Contractors: Mullen & Lumsden Ltd. Sub-con-
tractors: Glass: John M. Newton & Sons Ltd.
Patent flooring: Korkoid Decorative Floors Ltd.
Central heating: G. N. Haden & Sons. Gasfitting:

North Thames Gas Board. Boilers: Thomas de la
Rue Ltd. (Gas Division). Electric wiring: S. Good-
child. Electric light fixtures: Merchant Adven-
turers of London Ltd. Electric heating: Ferranti
Ltd. Sanitary fittings: W. N. Froy & Sons. Door
furniture: Comyn Ching & Co., and Alfred G.
Roberts Ltd. Bronze windows: Williams & Wil-
liams Ltd. Venetian blinds: Catesbys Contracts
Ltd.

Squash Court at Oxford. Architect: Stephen
Gardiner. Contractors: Hinkins & Frewin, Ltd.
Sub-contractors: Flooring: Hollis Bros. Ltd.
Ironmongery: James Gibbons Ltd. Paints: Inter-
national Paints Ltd., and Parson & Sons. Roofing
felt: Neuchatel Asphalte Co.

Showroom in Hackney Road, E.2. Showroom
designer: Clive Latimer. Mural by: Nigel Henderson.
Main showroom contractor: E. Pollard & Co.
Preparation and fixing of exhibits: Andrew A.
Pegram, Ltd. Electrical installation: Barlow Bros.
& Co.

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PAGE
ARTICLES AND ILLUSTRATIONS

Aavport, London. South East Passenger
Handling Building and Control Build-
ing. Architect: Frederick Gibberd.
Exterior and interior views, drawings
and plans

Awports (Arrival and Departure).
trated article by Lionel Brett

Amsterdam Air Terminal. Architects :
Joh. H. Groenewegen and H. Mieras.

Illus-

4, 13-15, 333-340 |

16 |

Exterior and interior views
itect/Manufacturer Co-operation :

III (Techniques). Jllustrated article

by Noel Moffett 201-204 |

IV (Techniques).
by Noel Moffett

Architectural Free-thinking (History).
Illustrated note by Tan Nairn 394-395

Avghitecture at the RA. Note by J. M.

Co-operation :
Illustrated article
412-416

Richards 49
Aerival and Departure. Illustrated
article by Lionel Brett 4-16
Av in Use: Saddle-Slide. Illustrated
note 122
Art Nouveau, Blake and. Illustrated
article by Robert Schmutzler 90-97
Assembly Hall, Rangoon University
‘y (Project). Architects : Raglan
Squire and Partners. Exterior views,
models and plans’ 318-321
Avtomatic Controls (The Industry).
Illustrated note 136
Bad Language at Shepton Mallet (Out-
rage). Illustrated note by Ian Nairn
329-330 |

Bank, London, Garrick Street, W.C.2,

Martins. Architect: Sir Hugh Cas-
son. Exterior and interior views and
plan 403-405

62. Grosvenor House, London, Park

Lane. Designer: R. D. Russell.

Interior views and plans 55-57
Bér, Midland Hotel, Manchester.

Designer: John Carter. Interior

views and plan 57-58
Garnet, Sports Pavilion. Architect :

D. Gillies-Reyburn. Exterior

view and plan 48
vdley, Worcestershire, School. Archi-

tects : Yorke, Rosenberg and Mardall.
Exterior and interior views and plan

255-256 |

Blake and Art Nouveau. TIilustrated
article by Robert Schmutzler

Book Reviews

Auerbach Erna. Tudor Artists.
Reviewed by John Summerson

Berger, Franz. Das Funkhaus in
K6ln

Blunt, Anthony. Art and Architec-
ture in France, 1500-1700.
Reviewed by Reyner Banham

Colvin, H. M. A Biographical Dic-
tionary of English Architects
1660-1840. Reviewed by Marcus
Whiffen

193

123

90-97 |

de Maré, Eric. New Ways of Ser-
vicing Buildings. Reviewed by
Dex Harrison

Dorfles, Gillo.
Moderna.
Banham

Entwistle, E. A.
paper

Harvey, John. English Mediaeval
Architects : A Biographical
Dictionary Down to 1550. Re-
viewed by Nikolaus Pevsner

Hitchcock, Henry-Russell. Early
Victorian Architecture in Britain.
Reviewed by Peter Floud

Hoskins, W. G. Devon. Reviewed
by Ian Nairn

Hume, Bertrand. Form and Reform
in Architecture

Kocher, A. Lawrence and Howard
Dearstyne. Shadows in Silver :
A Record of Virginia 1850-1900.
Reviewed by Marcus Whiffen

Le Corbusier: Oeuvre Complete.
Vol. 5. 1946-1952. Reviewed
by Ian McCallum

MecQuoid, Percy and Ralph Edwards.
Antique Furniture. Reviewed by
Barbara Jones

Symonds, R. W. Furniture Making
in Seventeenth and Eighteenth
Century England. Reviewed by
John Gloag

Summerson, John. Architecture in
Britain, 1530-1830. Reviewed by
Reyner Banham

Whistler, Laurence. The Imagina-
tion of Vanbrugh and His Fellow
Artists. Reviewed by Marcus
Whiffen

Woodforde, Christopher. English
Stained and Painted Glass. Re-
viewed by Alec Clifton-Taylor

Wright, Frank Lloyd. The Future
of Architecture. Reviewed hy
Alan Colquhoun

Zevi, Bruno. Peetica
tettura Neo-Plastica.
hy Reyner Banham

L’Architettura
Reviewed by Reyner

The Book of Wall-

dell’ Archi-
Reviewed

Books Reviewed

Antique Furniture. By Percy
McQuoid and Ralph Edwards

Architecture in Britain, 1530-1830.
By John Summerson

L’Architettura Moderna.
Dorfles

Art and Architecture in France, 1500—
1700. By Anthony Blunt

Biographical Dictionary of English
Architects, 1660-1840. By
Howard Colvin

Book of Wallpaper, The.
Entwistle

Devon. By W. G. Hoskins

Early Victorian Architecture in
Britain. By Henry-Russell
Hitchcock

By Gillo

By E. A.

PAGE

193

402

50

332

194

401

193

The Lbchilecluval Review

English Mediaeval Architects: <A
Biographical Dictionary Down
to 1550. By John Harvey

English Stained and Painted Glass.
By Christopher Woodforde

Form and Reform in Architecture.
By Bertrand Hume

Funkhaus in K6ln, Das.
Berger

Furniture Making in Seventeenth and

By Franz
123

Kighteenth Century England.
By R. W. Symonds 332
Future of Architecture, The. By

Frank Lloyd Wright
Imagination of Vanbrugh and His
Fellow Artists. By Laurence
Whistler
Corbusier: Oeuvre Complete,
1946-1952 50

New Ways of Servicing Buildings.

By Eric de Maré
Poetica dell’Architettura
Plastica. By Bruno Zevi
Shadows in Silver: A Record of
Virginia, 1850-1900. By A.
Lawrence Kocher and Howard
Dearstyne

Tudor Artists. By Erna Auerbach
Brewers’ House Styles. Illustrated article

by Brian Spiller 372-881
Brighton Housing (Outrage). Illustrated

note by Ian Nairn 261-262
Brutalism, The New. Illustrated article by

Reyner Banham 355-361
Building Block, A New (The Industry).

Note

Le

Neo-
193

402
193

134

Building Exhibition (Techniques). Illus-
trated article by John Voelcker 342-346

Cane Furniture (Design Review). Illus-
trated note 340-341

Cape Town, Government Avenue (Town-

scape). Illustrated note 330-331
Carpet Laying (The Industry). Illus-

trated note 276

Caruso, Bruno: The Drawings of. Jllus-
trated note by Robert Melville 325-327
Chaddesden, Derbyshire, School. Archi-

tects: Architects’ Co-Partnership.
Exterior and interior views and plans 21-24
Chapel, Ronchamp, Notre Dame du Haut.
Architect: Le Corbusier. Exterior
views
Chessington, Surrey, Church Hall.

354
Archi-

tects: Kenneth Wood. Exterior
views and plan 257
Chesterton, Warwickshire (History).

Illustrated article by Howard Colvin 115-117
Church, Sidley, Sussex. Architect: A. F.

Watson. Exterior and interior views

and plan 48
Church Furnishings, German (Design

Review). Illustrated note by Nikolaus

Pevsner 270-273

Church Hall, Chessington, Surrey. Archi-
tect: Kenneth Wood. Exterior
views and plan

Cladding, Glass (The Industry). Note

Cladding, Kynalok Secret Fix (The
Industry). Illustrated note

257
418

276

VOLUME ONE HUNDRED AND EIGHTEEN JULY-DECEMBER 1955 ye

| — PAGE

|
194 259

124

193

49

132

4-16 | |

|

Ara |

331 a

49

122

=

331 |

|

|

|

122

194

259

194 182

259 | 331 |

Coffee Bars.
Gardiner
College, Pershore, Horticultural.

tects :
ners. Exterior and

and plans

Noie

Copenhagen, US Embassy Office. Archi-
tect: Ides van der Gracht (Regional
Exterior

Director, USFBO).
interior views and plans
Corner Chamfer, The.
Casson
* Correspondence :

Ames, Winslow (Corner Chamfers)

Arkin, James (Outrage)

Halprin, Lawrence (Outrage)

Laws, P. G. (Outrage)
Metcalf,
City)

Plowman, Harry (Oxford Gas Works)

Slipher, David C. (Outrage)

Thomas, P. Michael (Outrage and

2 Lamp Standards)
Coventry, Hotel Leofric.

Covers

July : Architectural Review's Initial

Letters Cut in Stone
August :

of House at Santa Fe
September :

= October: Notice of Acquisition of
Open Downland for Housing by
Brighton Corporation

November :

Nantes-Rezé
December :
No. 1-

Broad Walk.
Howgrave-Graham.
and sketch

Architect :

tect: Basil Ward.
interior views and plans
Criticism : Garches to Jaoul:

and 1953.
Stirling

trated note

Dartford, Kent, ‘Technical
Architect: E. T. Ashley
fe (Kent County Architect).

Dereliction (Landscape).
article by Kenneth Browne
Dereliction.
Design Review :
Book of Wallpaper.
Cane Furniture.
Crown Wallpapers.
by Diana Rowntree
Form in Glass (Light

tree
French Furniture’ at

Illustrated note
Furnishing Fabrics.

Illustrated article by Stephen
167-173

Richard Sheppard and Part-
interior views
24 301-303 |
: Colour Range, Architects’ (The Industry).

Priscilla (Rebuilding

Architects :
W. S. Hattrell and Partners.
terior and interior views and plans 195-199

Patio of House in Hamp-
38 stead Interpolated as one of the
Squares in Floorscape of Patio

Z Detail from Medal by
ey Matteo de’Pasti and Four Build-
oh: ings by Leone Battista Alberti

’ Wall of the Créche on
~ Roof of Le Corbusier’s Flats at

Registered Trade Mark
the Red Badge of Bass
Crawley New Town, Shopping Precinct,

Exterior views

106, 108
Cricket Pavilion, East Molesey.
Exterior

busier as Domestic Architect in 1927

Illustrated article by James
145-151

Curtain Walling (The Industry).

and interior views and plans

Note by Hugh Casson

Illustrated note
Illustrated note 340-341
Illustrated note

199-200

Illustrated note by Diana Rown-
Woollands.
Illustrated note

German Church Furnishings.
trated note by Nikolaus Pevsner 2

PAGE

66

241-242
Note by Hugh

191

352
212
212
852
212
141
212

142

219-221

134

Exterior
186-187
Illustrated
304-311
393-394

182

411

59-60
200

0-273 |

PAGE

Italian Furniture at Heals. Jilus-
trated note by Diana Rowntree 58-59

|
|

Knoll Index. Illustrated note by
Diana Rowntree 129-130 |
Liberty’s Furnishing Fabrics. J/lus-

trated note by Diana Rowntree 130-131
Plastic Furnishing Fabrics. Illus-

trated note 131
Wall Coverings. Illustrated note 342
Wallpapers. Illustrated note 411
Diapers (Wallscape). Illustrated note by
C. Forehoe 396
Domestic Oil Barning Equipment (Tech-
niques). Illustrated article by John
Voelcker 60-66
Door Furniture (The Industry). Illus-
trated note 206
Drawings of Bruno Caruso. Illustrated
note by Robert Melville 325-327
East Molesey, Cricket Pavilion. Archi-

tect: Basil Ward.. Exterior and

interior views and plans 219-221
Embassy Apartments, Paris, US. Archi-

tect: Alan B. Jacobs. Exterior and

interior views and plans 246-247
Embassy Offices, Copenhagen, US.

Architect: Ides van der Gracht

(Regional Director, USFBO). Ex-

terior and interior views and plans 241-242
Embassy Offices, Stockholm, US. Archi-

tect : Ides van der Gracht. Exterior

and interior views and plans 243-245
Encroachment (Landscape). Illustrated

article by Sylvia Crowe 248-254
Esher, House. Architects : Devereux and

Davies. Exterior and interior views
and plans 322
Espresso. Article by Marghanita Laski 165-167

Exhibition, Building (Techniques). Jilus-
trated article by John Voelcker 342-346

Exhibition, Hialsingborg, Sweden, H.55
Exterior views 74

Exhibition, Hialsingborg, Sweden, H.55.
Illustrated article by J. M. Richards 222-236

Exhibition at ICA: Man, Machine and
Motion. Illustrated note

Exhibition Stand, Utrecht Textile Fair.
Illustrated note

Exhibitions. Jllustrated note by Robert
Melville 50, 118, 189, 262, 325, 396

51-53

395

Factory, Harlow New Town. Architects :

Harlow Development Corporation.

Exterior views and plan 114
Factory, Norwich (Architectural Free-

Thinking). Illustrated note by Ian

Nairn 394-395
Factory, Stevenage New Town. Archi-

tects: Stevenage Development Cor-

poration. Exterior and __ interior

views and plan 45, 46

Farnley Tyas, Yorkshire, House near.
Architect: Peter Womersley. Ex-
terior and interior views and plans 362-867

Flats, London, Hampstead, Isokon (His-
tory). Illustrated note by Reyner
Banham 54

Flats, Nantes-Rezé. L’Unité d’Habita-

tion. Architect : Le Corbusier. Ex-

terior and interior views. Illustrated

note 327-329
Flats, Rome. Architects: Luccichenti

and Monaco. Exterior views and

plans 385-387
Flats, Santa Marinella, Italy. Architects :

Luccichenti and Monaco. Exterior

views and plan 386
Flaxman: The Bi-Centenary of an

English Neo-Classicist. Illustrated

article by F. J. B. Watson 285-289

PAGE

Form in Glass (Design Review). Jilus-
trated note by Diana Rowntree 41]
French Furniture at Woollands (Design

Review). Illustrated note by Diana
Rowntree 59-60
Furnishing Fabrics (Design Review).
Illustrated note 200
Furnishing Fabrics, Liberty’s (Design
Review). Illustrated note by Diana
Rowntree 130-131
Furnishing Fabrics, Plastic (Design
Review). Illustrated note 131
Furniture at Heals, Italian (Design
Review). Illustrated note by Diana
Rowntree 58-59

Furniture at Woollands, French (Design

Review). Illustrated note 59-0
Furniture, Cane (Design Review). Illus-
trated note 840-341

Furniture : Knoll Index (Design Review).
Illustrated note by Diana Rowntree 129-130

Galleria, The (Townscape). Illustrated
note by J. M. Richards 260
Garches to Jaoul: Le Corbusier as
Domestic Architect in 1927 and 1953.
Illustrated articie by James Stirling 145-151
Garston, Watford, School. Architect :
C. H. Aslin. Exterior and interior
views and plan
German Church Furnishings (Design Re-
view). Illustrated note by Nikolaus
Pevsner 270-273
Glass Cladding (The Industry). Note 418
Great Hall, The. Illustrated note 120-12

Hilsingborg, Sweden, Exhibition : H.55.

Exterior views 74
Hilsingborg, Sweden, Exhibition : H.55.
Illustrated article by J. M. Richards 222-236

Hardec (The Industry). Note 348

Harlow New Town, Factory. Architects :
Harlow Development Corporation.
Exterior view and plan

Harlow New Town, School. <Architect :
H. T. Cadbury-Brown. Exterior
views and plan 98-100
Hatfield, School. Architects : Architects’
Co-Partnership. Exterior and _in-

terior views and plans 27-29
Hawksmoor and the Ordnance. /Jilus-
trated article by Laurence Whistler 237—239
Heating Tests, Two (Techniques). Jilus-
trated note by John Arkwright 132-134
History :
Architectural Free-Thinking (Factory
in Norwich). Illustrated note by
Ian Nairn 394-395
Chesterton House, Warwickshire.
Illustrated article by Howard
Colvin 115-117
Great Georgian Warehouse, A (West
India Dock, London). Jilus-
trated note by S. H. Kessels 191-192
Isokon Flats (London, Hampstead).
Illustrated note by Reyner Ban-
ham 54

Old Prison in Lincoln Castle. Jilus-
trated note by Emily Peckover 264

Hogarth, Paul. Illustrated article by
Robert Melville 75-79

Holland, Amsterdam Air Terminal.

Architects : Joh. H. Groenewegen and

H. Mieras. Exterior and_ interior

views 16
Holland, Rotterdam, Lijnbaan Shopping

Centre. Architects: J. H. van den

Broek and J. B. Bakema. Exterior

views and sketch 110
Hornsey, School. Architects : Richard

Sheppard and Partners. Exterior

and interior views and plans 101-105

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Horta: Works and Style of Victor Horta
Before 1900. Illustrated article by
Stephan Tschudi Madsen 888-392

Horticultural College, Pershore. Archi-

tects: Richard Sheppard and Part-

ners. Exterior and interior views
and plans 301-303
Hotel, Coventry, Leofric. Architects :

W. S. Hattrell and Partners. Ex-
terior and interior views and plans 195
Hotel, Istanbul, Hilton. Architects :
Skidmore, Owings and Merrill. Ex-
terior and interior views and plans
290-296

199

ouses :

Esher. Architects: Devereux and
Davies. Exterior and interior
views and plan

Farnley Tyas, Yorkshire. Architect :
Peter Womersley. Exterior and
interior views and plans 362

Leicester. Architects : James Cubitt
and Partners. Exterior and in-
terior views and plans 368

London, Hampstead. Architect :
Alexander Gibson. Exterior
and interior views and plan

Santa Fe, New Mexico, USA. Archi-
tect: Alexander Girard. Ex-
terior and interior views and plan80—86

367

371

86-89

Tewin, Hertfordshire. Architect :
Vernon H. Lee. Exterior view

and plan 258
Totteridge, Hertfordshire. Archi-
tects : Greenwood and Michell.

Exterior view and plan 47
West Mersea, Essex. Architect :
Richard Finch. Exterior views

and plan 188
Housing, Brighton (Outrage). Illustrated

note by Ian Nairn 261-262
Housing, London, Highgate, Police.
Architect: J. Innes Elliott (Chief
Architect, Metropolitan Police). Ex-

terior views and plan 112-113
Hydrophobic Report (Landscape). J/lus-

trated note by Eric de Maré 119-120

Iinperial Institute Re-created as a Univer-
sity Centre (Townscape). Illustrated
article by Gordon Cullen 30-35
Industry, The :

Architect’s Colour Range. Note 66
Automatic Controls. Illustrated note 136
Building Block, A New. Note 134
Carpet Laying. Illustrated note 276
Curtain Walling. Illustrated note 134
Door Furniture. Illustrated note 206
Glass Cladding. Note 418
Hardec (Patent Hardboard). Note 348
IXynalok Secret Fix Cladding. Illus-
trated note 276
Light Fitting, A Pendant. Lllus-
trated note 136
Lighting Fittings, Recessed. Illus-
trated note 66
Mod-X Structures. Note 204
Oil Fired Burners. Illustrated note 418
Pre-cast Walling Units. Note 206
Space Heating System. Illustrated
note 206
Tiles, More. Illustrated note 204
Timber Impregnation. Note 208
Wood Casements. Illustrated note 118
Interiors :
Bar at Grosvenor House, Park Lane,
W.1. Designer: R. D. Russell.
Interior views and plans 55-57
Bar at Midland Hotel, Manchester.
Designer: John Carter. In-
terior views and plan 57-58

|

Hotel at Coventry. Architects : W.S.
Hattrell and Partners. Exterior
and interior views and plans 195-199

London Airport, South East Pas-
senger Handling Building.
Architect: Frederick Gibberd.
Interior views and plans 333-340

Office in Copthall Avenue, E.C.2.
Architects : Farmer and Dark.
Interior views and plan 128-129

Offices in Aldford Street, W.1.
Designer: R. D. Russell. In-
terior views and plans 125-126

Offices in Manchester. Architect :
Alan Buckley. Interior views
and plan 268-270

Qffices in Park Lane, W.1.
Designers: Peter Miller and
F. H. K. Henrion. Interior
views and plan 126-128

Showrooms in Bond Street, W.1.
Architects : O. Gundlach-Peder-
sen and Ebbe Andresen. In-
terior views and plan 410

Showrooms in Grafton Street, W.1.
Architect: Roy L. Moorcroft.
Interior views and plan 267-268

Showrooms in Hackney Road, E.2.
Designer: Clive Latimer. In-
terior views and plan 407-408

Showrooms in Victoria Street, S.W.1.
Army and Navy Stores.
Designer: Misha Black. In-
terior views and plan 409

Tailor’s Showroom, Regent Street,
Austin Reed. Architects : West-
wood, Sons and Harrison. In-
terior views and plans 265-267

Isokon Flats, London, Hampstead (His-
tory). Illustrated note by Reyner

Banham 54

Istanbul, Hilton Hotel. Architects : Skid-
more, Owings and Merrill. Exterior
and interior views and plans 290-296
Italian Furniture at Heal’s (Design Re-

view). Illustrated note by Diana
Rowntree 58-59
Knoll Index (Design Review). Illustrated

note by Diana Rowntree 129-130
IKXynalok Secret Fix Cladding (The Indus-
try). Illustrated note

Laboratories, Rangoon (Project). Archi-
tects: James Cubitt and Partners.
Exterior views, models and plans 312-317

Laboratories, Richmond, Surrey. Archi-

tect: Kenneth Anns. Exterior views 47
Landscape :
Dereliction. Illustrated article by
Kenneth Browne 304-311
Encroachment. Jllustrated article by
Sylvia Crowe and Kenneth
Browne 248-254
Ilydrophobic Report. Illustrated
note by Eric de Maré 119-120
Recreational Landscape. Illustrated
note by Sylvia Crowe 190
Roads in the Landscape. Illustrated

note by Sylvia Crowe 53-5
Corbusier as Domestic Architect in
1927 and 1953 (Garches to Jaoul).
Illustrated article by James Stirling 145-151
Leicester, House. Architects : James

Cubitt and Partners. Exterior and

interior views and plans 368-371

Le

Lettering : Minuscule. Illustrated note by
Nicolete Gray 398—400
Liberty’s Furnishing Fabrics (Design

Illustrated note by Diana
130-131

Review).
Rowntree

Light Fitting, A Pendant (The Industry).

Illustrated note 136
Light Fittings: Form in Glass (Design
Review). Illustrated note by Diana
Rowntree 411
Light Fittings, Recessed (The Industry).
Illustrated note 66
Lincoln Castle, The Old Prison in (His-
tory). illustrated note by Emily
Peckover 264

London Airport, South East Passenger

Handling Building and Control Build-

ing. Architect: Frederick Gibberd.

Exterior and interior views, drawings

and plans 4, 138-15, 333-340

London :

Aldford Street, Offices.
Designer: R. D. Russell. In-
terior views and plans 125-126

Bond Street, W.1, Showrooms for
Georg Jensen. Architects: O.
Gundlach-Pedersen and Ebbe
Andresen. Interior views and
plan

Catford, S.E.6, School. Architect :
J. L. Martin. Exterior and
interior views and plans 323-324

Chelsea, King’s Road, Orrery Coffee
Bar. Designer: ‘Terence Con-
ran. Interior views and plan

Chelsea, King’s Road, Roy’s Bar.
Designer: Roy Alderson. In-
terior views and plan

Copthall Avenue, E.C.2, Office.
Architects : Farmer and Dark.
Interior views and plan 128-129

Garrick Street, W.C.2, Martins Bank.
Architect: Hugh Casson. Ex-
terior and interior views and plan
403-405

Showroom.

410

173

169

Grafton Street, W.1,
Architect: Roy L. Moorcroft.
Interior views and plan 267-268

Hackney Road, E.2, Showrooms.
Designer: Clive Latimer. In-
terior views and plan 407-408

Hampstead, Flats (History). Illus-

trated note by Reyner Banham 54

Ilampstead, House. Architect :
Alexander Gibson. Exterior
and interior views and plan 86-89
Haymarket, The Coffee House.
Designer: Antoine Acket. In-
terior views and plan 172
Highgate, Police Housing. Architect:

J. Innes Elliott. Exterior views
and plan 112-113
Imperial Institute Recreated as a
University Centre (‘Townscape).
Illustrated article by Gordon
Cullen 30-35
IXensington, Brompton Road, Arabica
Coffee Bar. Designer: G. R.
Cole. Interior view and plan
Kensington, Brompton Road, El
Cubano Coffee Bar. Designer :
Douglas Fisher. Interior views
and plan
KXensington, Old Brompton Road.
Las Vegas Coffee Bar. Designer :
Jack Williams. Interior view
and plan 172
Kensington, Onslow Crescent, Sarabia
Coffee Bar. Designer: G. A.
Crockett. Interior view and plan
KXnightsbridge, Mocamba Coffee Bar.
Designer : Douglas Fisher. In-
terior view and plan
Paddington, Hallfield Estate School.
Architects : Drake and Lasdun.
Exterior and interior views and
plans 152-160

171

170

173

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PAGE

Park Lane, Grosvenor House Bar.

Designer: R. D. Russell. In-
s terior views and plans 55-57

Park Lane, Offices. Designers : Peter
Miller and F. H. K. Henzion.
Interior views and plan 126-128
Regent Street, Austin Reed Tailor’s
Showroom. Architects: West-
. wood, Sons and Harrison. In-
terior views and plans 265-267
Victoria Street, S.W.1, Showrooms
Ss for Army and Navy Stores.
Designer: Misha Black.
re terior views and plan
West India Dock, A Great Georgian
Warehouse (History). Illustrated
note by S. H. Kessels 191-192
Wigmore Street, W.1, Boulevard
Coffee Bar. Designer : William
Andrews. Interior views and
plan
Wigmore Street, W.1, Gondola Coffee
Bar. Designers: Helen Low
and Humphrey Spender. In-
terior views and plan
Lost Axis, The: The Imperial Institute
. Recreated as a University Centre
(Townscape). Illustrated article by
Gordon Cullen 30-35
Lubetkin (Biography). Illustrated article
by R. Furneaux Jordan

409

36-44

a Mackintosh, No Grace
Nikolaus Pevsner
Man, Machine and Motion.

note

Manchester, Midland Hotel
Designer: John Carter.
views and plan 5

Manchester, Offices. Architect: Alan

Buckley. Interior views and plan 268-270

Metropolitan Promenade (‘Townscape).
Illustrated note 330-331

for. Note by
117
Illustrated
51-53
Bar.
Interior

7-58

Minuscule (Lettering). Illustrated note by
Nicolete Gray 398-400
Mod-X Structures (The Industry). Note 204
Nantes-Rezé, L’Unité d’Habitation.
Architect: Le Corbusier. Exterior
and interior views 327-329
aa New Brutalism, The. Illustrated article by
3 Reyner Banham 355-361
New Patrons, The. Article by J. M.
: Richards 215-218
North African Scrapbook. Illustrated

article by G. KE. Kidder Smith 144, 174-185

4 Ottices :

London, <Aldford Street, W.1.

Designer: R. D. Russell. In-

= terior views and plans 125-126
London, Copthall Avenue, E.C.2.

Architects: Farmer and Dark.
Interior views and plan 128-129
London, Park Lane, W.1. Designers :

Peter Miller and F. H. K. Hen-
rion. Interior views and plan 126-128
Manchester. Architect: Alan Buck-
y ley. Interior views and plan 268-270
we Rome, Via Gianturco. Architects :
Luccichenti and Monaco. Ex-
= terior and interior views and
plans 382-384
a Oil Fired Burners (The Industry). Illus-
trated note 418
Ordnance, Hawksmoor and the. Jilus-

trated article by Laurence Whistler 237-239 |
Outrage: Bad Language at Shepton
Mallet. Illustrated note by Ian Nairn |
329-330 |

PAGE

Outrage: Brighton Housing. Illustrated
note by Ian Nairn 261-262
Oxford, Squash Court at. Architect :
Stephen Gardiner. Exterior and in-

terior views and plans 405-406
Palladian Villas as Rural Centres. Ilus-
trated article by Georgina Masson 17-20

Panel, The (Techniques). Illustrated note
by John Norgate 273-274
Paris, US Embassy Apartments. Archi-
tect: Alan B. Jacobs. Exterior and
interior views and plans 246--247
Peepshow and Roving Eye. Jllustrated
article by Roger Hinks 161-164
Peking, The Temple of Heaven (Land-

scape). Illustrated note by Hugh
Casson 400-401
Pershore, Horticultural College. <Archi-

tects : Richard Sheppard and Part-

ners. Exterior and interior views

and plans 801-303
Philadelphia Airport, USA. Architects :

Garroll, Grisdale and Van Alen.

Exterior and interior views 12-138
Plastic Furnishing Fabrics (Design Re-

view). Illustrated note 131
Play Sculpture: Saddle-Slide. Illus-

trated note 122
Police Housing, London, Highgate.

Architect : J. Innes Elliott. Exterior

views and plan 112-113

Portraits :

Flaxman, John 289
Gibson, Alexander 72
Girard, Alexander 72
Halsingborg Exhibition, Architects
and Organizers of the 212
Luccichenti and Monaco 352
Squire, Raglan 282
Womersley, Peter 352
Prefabrication : Mod-X Structures (The
Industry). Note 204
Prison in Lincoln Castle, The Old (His-
tory). Illustrated note by Emily
Peckover 264
Public Houses (Brewers’ House Styles).
Illustrated article by Brian Spiller 372-381
Rangoon, Laboratories (Project). -{rchi-
tects: James Cubitt and Partners.
Exterior views, models and plans 312-317

Rangoon University, Assembly Hall (Pro-
ject). Architects : Raglan Squire and
Partners. Models, exterior views and
plans 318-321

Recreational Landscape. Illustrated note

by Sylvia Crowe 190
Renfrew Airport. Architects: Rowand

Andersen, Kininmonth and Paul.

Interior and exterior views 11
Richmond, Surrey, Laboratories. Archi-

tect: Kenneth Anns. Exterior views 47
Roads in the Landscape. Illustrated note

by Sylvia Crowe 53-54
Rome, Flats. <Archiiects: Luecichenti

and Monaco. Exterior views and

plans 385-387

Rome, Offices. Architects: Luccichenti
and Monaco. Exterior and interior
views and plans 382-384
Ronchamp, France, Chapel of Notre Dame

du Haut. Architect: Le Corbusier.

Exterior views 354
Royal Academy, Architecture at the.

Note by J. M. Richards 49
Saddle-Slide (Art in Use). Illustrated

note 122

PAGE

USA, House.
Ex-

Santa Fe, New Mexico,
Architect : Alexander Girard.

terior and interior views and plans 80-86
Santa Marinella, Italy, Flats. Architects :

Luccichenti and Monaco. Exterior

views and plan 386

Schools :

Bewdley, Worcestershire. Architects :
Yorke, Rosenberg and Mardall.
Exterior and interior views and
plan 255-256

Chaddesden, Derbyshire. Architects :
Architects’ Co-Partnership. Ex-

terior and interior views and
plans 21-24
Garston, Watford. Architect: C. H.
Aslin. Exterior and_ interior
views and plan 111-112

Harlow New Town. Architect : H.'T.
Cadbury-Brown. Exterior views
and plan 98-100
Hatfield. Architects : Architects’ Co-
Partnership. Exterior and in-

terior views and plans 27-29
Hornsey. Architects : Richard Shep-

pard and Partners. Exterior

and interior views and plans 101-15

London, Catford, S.E.6. Architect :
J. L. Martin. Exterior and in-
terior views and plans 323-8 24
London, Paddington, Hallfield Estate.
Architects : Drake and Lasdun.
Exterior and interior views and
plans 152-130
Sheffield, Yorkshire. Architects :
Architects’ Co-Partnership. Ex-
terior and interior views and
plans 24-26
Scrapbook, North African. Illustrated
article by G. E. Kidder Smith 174-185
Sheffield, Yorkshire, School. Architects :
Architects’ Co-Partnership. Ex-
terior and interior views and
| plans
| Shepton Mallet, Bad Language at (Out-
rage). Illustrated note by Ian Nairn
329-330
Regent Street, Austin
Architects:

24-26

Shop, London,

|
|
rye ~

| Reed Tailor’s Showroom.

Westwood, Sons and Harrison. In-
| terior views and plans 265-267
| Shopping Precincts (Townscape). ilus-

trated article by Charles Forehoe and

London, Regent Street, W.1., Austin
Reed Tailor’s. Architects :
Westwood, Sons and Harrison.
Interior views and plans 265-267

Kenneth Browne 106-110
| Showrooms :
London, Bond Street, W.1. -trchi-
tects : O. Gundlach-Pedersen and
| Ebbe Andresen. Interior views
and plan 410
London, Grafton Street, Archi-
tect: Roy L. Moor. ‘t. In-
| terior views and plan 267-268
| London, Hackney, E.2. Designer :
Clive Latimer. Interior views
| and plan 407-408

London, Victoria Street, S.W.1,
Army and Navy _ Stores
Designer: Misha Black. In-
terior views and plan 1)

Sidley, Sussex, Church. Architect: A. F.

Watson. Exterior and interior views

and plan 48

Skill : Review of Building Techniques and
Industrial Design 55-66, 125-136

195-208, 265-278, 333-348, 407-420
Space Heating System (The Industry).
Illustrated note

206

Sports

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of
M
vitze
A

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Tewin.

Totter
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te

Towns

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PAGE
Sports Pavilion, Barnet. Architect :
D. H. Gillies-Reyburn. Exterior
view and plan 48
Squash Court, Oxford. Architect :

<xterior and in-
405-406

Stephen Gardiner.
terior views and plans

Stand at Utrecht Textile Fair. Lllus-
trated note 395
Stevenage New Town, Factory. <Archi-
tects : Stevenage Development Cor-
poration. Exterior and _ interior
views and plan 45, 46
Stockholm, US Embassy Offices. Archi-
tect: Ides van der Gracht. Exterior

and interior views and plans 243-245
Sullivan and Wright: An Uneasy Union

of Celts. Illustrated article by Grant

Manson 297-300
S vitzerland, Zurich Airport. Architects :

A. and H. Oeschger. Exterior and

interior views 9, 10
Technical College, Dartford, Kent.
Architect: E. T. Ashley Smith
(County Architect). Exterior and
interior views and plans 186—187

Techniques :
Architect/Manufacturer Co-operation
III. Illustrated article by Noel
Moffett 201-204
Architect/Manufacturer Co-operation

IV. Illustrated article by Noel
Moffett 412-416
Building Exhibition. Illustrated
‘ article by John Voelcker 342-346
Domestic Oil Burning Equipment.
Illustrated article by John
Voelcker 60-66
Heating Tests, Two. Illustrated note
by John Arkwright 132-134
Panel, The. Jilustrated note by John
Norgate 273-274
Temple of Heaven, The (Landscape).
Illustrated note by Hugh Casson 400-401
Tewin, Hertfordshire, House. Architect :
Vernon H. Lee. Exterior view and
plan 258
Tiles, More (The Industry). Illustrated
note 204
Timber Impregnation (The Industry).
Note 208
Totteridge, Hertfordshire, House. Archi-
tects : Greenwood and Michell. Ex-
terior view and plan AT
Townscape :
Galleria, The. Illustrated note by
J. M. Richards 260

Lost Axis, The: The Imperial Insti-
tute Recreated as a University
Centre. Illustrated article by
Gordon Cullen 30-35
Metropolitan Promenade. Illustrated
note 330-331
Shopping Precincts. Illustrated
article by Charles Forehoe and
Kenneth Browne 106-110

Rangoon, Assembly Hall
Architects : Raglan Squire
Models, exterior views

University,
(Project).
and Partners.

and plans 318-321

US Embassy Buildings 240-247
USA: Philadelphia Airport. Architects :
Garroll, Grisdale and Van Alen.

Exterior and interior views 12-13
USA: Santa Fé, New Mexico, House.
Architect: Alexander Girard. Ex-
terior and interior views and plan

80-86
Utrecht Textile Fair, Stand at. LIllus-

trated note 395

PAGE
Vanderbijlpark, Transvaal, Shopping
Centre. Architect: P. R. Anderson.
Exterior views and sketch 109
Wall Coverings (Design Review). Illus-
trated note 342
Walling Units, Pre-Cast (The Industry).
Note 206
Wallpaper, Book of (Design Review).
Illustrated note 132
Wallpapers (Design Review). Illustrated
note 411
Wallpapers, Crown (Design Review).

Illustrated note by Diana Rowntree 199-200 |

Wallscape: Diapers. Illustrated note by
C. Forehoe 396
Warehouse, A Great Georgian (History).
Illustrated note by S. H. Kessels 191-192
West Mersea, Essex, House. Architect :
Richard Finch. Exterior views and
plan 188
Windows, Wood Casement (The Industry).
Illustrated note 418 |
Wocd Casements (The Industry). Illus-
trated note 418

Wright and Sullivan: An Uneasy Union

of Celts. Illustrated article by Grant
Manson 297-300
Zurich Airport. Architects: A. and H.
Oeschger. Exterior and _ interior
views 9, 10
ARCHITECTS AND ARTISTS
Acket, Antoine 172
Acking, Carl-Axel 222-236
Adler and Sullivan 297-300
Aerts, Hendrick 162
Alderson, Roy 169
Anderson, P. R. 109
Anderson, Rowand, Kinimonth and Paul 11
Andrews, William 171
Anns, Kenneth 47
Architects’ Co-Partnership 21-29
Aslin, C. H. 232

Ayrton, Michael 398

Bacon, Francis 189
Bakema, J. B., and J. H. van den Broek 110
Barenreiter-Werkstatt 27%
Bartning, Otto 270

Beck, Pierre : 351

Berckheyde, Gerrit 162
Black, Misha 409
Blake, William 90-97
Bor, Paulus 189
Bratby, John 397
Browne, Kenneth 4
Buckley, Alan 268-270
Burra, Edward 51
Burri, Alberto 359
Cadbury-Brown, H. T. 98-100 |
Cadbury-Brown, H. T., and Erné Gold-
finger 71
Calderon, Jose A., and Walter Weberhofer 351
Cant, James 51
Carter, John 57—58

Casson, Sir Hugh 403-405
Cole, G. R.
Conran, Terence
Cordell, Magda 359

Crockett, G. A. 171
Cubitt, James and Partners 3812-3817, 368-371
Cullen, Gordon 281
David, Gerard 161
Devereux and Davies 322

Dittert, Carl
Drake and Lasdun
Dubuffet, Jean
Elliott, J. Innes (Chief Architect, Metro-
politan Police) 112, 113

152-160
51

272, 273 |

Wig

ex

PAGE
Etty, William 296
Fabritius, Carel 163, 164
Farmer and Dark 128-129
Finch, Richard 188
Fisher, Douglas 170, 173
Flaxman, John 285-289
Fleer, F. 272
Forster, E. E. 272
Francesca, Piero della 161
| Gardiner, Stephen 2, 405-406
Garroll, Grisdale and Van Alen 12-13
Gate, Bengt 222-236
Gauguin, Paul 897
Gibberd, Frederick 4, 13-15, 333-340
| Gibson, Alexander 86-89
Giefer and Mackler 270, 271
Gillies-Reyburn, D. H. 48
Girard, Alexander 80-86
Goldfinger, Erné, and H. T. Cadbury-
Brown 71
Greaves, Derrick 264
Greenwood and Michell 47
Groenewegen, J. H., and H. Mieras 16
Gundlach-Pederson, O., and Ebbe
Andresen 410
Guttoso, Renato 50
Gwilt, George and Son 191-192
Harlow Development Corporation 114
Hattrell, W. S., and Partners 195-199
Hawksmoor, Nicholas 237-239
Henderson, Nigel 356
Henrion, F. H. K., and Peter Miller 126-128
Hicks, Edward 190
Hoffmann, Hans 121
Hogarth, Paul 76-79
Hopp, Bernhard 272
Horta, Victor 388-392
Howgrave-Graham, H. S. (Crawley
Development Corporation) 106, 108

Jacobs, Alan B. 246-247
Johnson, Philip, and Mies van der Rohe 1

Kahn and Orr 360
Koolman, Rolf 273
Langmaack, Gerhard 271
Latimer, Clive 407-408

Le Corbusier 145-151, 327-829, 354

Lee, Vernon H. 258
Lewitt-Him 395
Low, Helen, and Humphrey Spender 170
Lubetkin, B. 36-44

Luccichenti and Monaco 382-387
Luckman and Pereira 1
Martin, J. L. (Architect to the London
County Council) 323-324
Masson, André 118
Mengoni, Giuseppe 214, 260
Middleditch, Edward 263
Mieras, H., and J. H. Groenewegen
Mies van der Rohe, Ludwig, and Philip
Johnson 1

Miller, Peter, and F. H. K. Henrion 126-128
Minaux, André 263
Mondriaan, Piet 262
| Moorcroft, Roy L. 267-268
Moroni, Federico 119
Moynihan, Rodrigo 51
Miller, Karl 272
Nervi, Pier Luigi 121
Nolan, Sydney 118
Oeschger, A. and H. 9-10
| Olsson, Torbjérn 222-236
Paolozzi, Eduardo 359
Pei, I. M., and Associates 351
Pollock, Jackson 359
Post, Herbert 271
Recco, Giuseppe 189
Rosenhauer, Hans 270-272
Russell, R. D. 55-57, 125-126
Saenredam, Pieter 162
Salvatore, Anna 119
Schwarz, Rudolph 271, 272

Schwerdt, Fritz 273

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Scott, A. F. 395
Sheppard, Richard, and Partners

2, 101-105, 301-3038
Silow, Sven 222-236
Skidmore, Owings and Merrill 290-296
Smith, E. T. Ashley (Kent County Archi-

tect) 186-187
Smith, Jack 119
Smithson, Alison and Peter 359-360
Soulages, Pierre 119 |
Spender, Humphrey, and Helen Low 170

Squire, Raglan, and Partners 318-3821

Stevenage Development Corporation
Architects’ Department 45, 46
Sutherland, Graham 189

van den Broek, J. H., and J. B. Bakema_ 110

van der Gracht, Ides (Regional Director,
USFBO) 241-245

van der Heyden, Jan 162-163

van der Poel, Egbert 163
Vermeer, Jan 164
Vinay, Jean 263
Wachsmann, Conrad 121
Wagner, Rudi 270
Ward, Basil 219-221
Wasson Tucker and Parente 351

Watson, A. F. 48
Weberhofer, Walter, and Jose A. Calderon 351
Westwood, Sons, and Harrison 265-267
Wilford, C. Edmund 71

| Crowe, Sylvia

PAGE
Williams, Jack 172
Wogensky, André 142
Womersley, Peter 362-367
Wood, Kenneth 257

297-300

255-256

Wright, Frank Lloyd
Yorke, Rosenberg and Mardall

AUTHORS AND CONTRIBUTORS

Arkwright, John
Banham, Reyner

132-134
54, 198, 194, 355-361
Brett, Lionel 4-16
Browne, Kenneth 304-311
Browne, Kenneth, and Charles Forehoe 106-110
Browne, Kenneth, and Sylvia Crowe 248-254
Casson, Hugh 191, 393-394, 400-401

Clifton-Taylor, Alec 124
Colquhoun, Alan 401
Colvin, Howard 115-117
Coolidge, John 352

53-54, 190

Crowe, Sylvia, and Kenneth Browne 248-254

Cullen, Gordon 30-35

| de Maré, Eric 119-120
Floud, Peter 331
Forehoe, C. 397 |

Forehoe, Charles, and Kenneth Browne 106-110
Gardiner, Stephen
Gloag, John

167-173
332

Gray, Nicolete
Harrison, Dex
Hinks, Roger

Jones, Barbara
Jordan, R. Furneaux
Kessels, S. H.

Laski, Marghanita
McCallum, Ian
Madsen, Stephan Tschudi
Manson, Grant
Masson, Georgina
Melville, Robert

q

PAGE

398-400 |
194
161-164
122
36-44
191-198 |
165-169 |

388-398)
297-300}

50, 75-79, 118, 189, 262, 325, 3965

Moffett, Noel
Nairn, Ian
Norgate, John
Peckover, Emily
Pevsner, Nikolaus
Richards, J. M.
Rowntree, Diana
Schmutzler, Robert
Smith, G. E. Kidder
Spiller, Brian
Stirling, James
Summerson, John
Tschudi Madsen, Stephan
Voelcker, John

Watson, F. J. B.
Whiffen, Marcus
Whistler, Laurence

201-204, 412-416
193, 329-330, 394-895

273-274
264

117, 259, 270-274
49, 215-218, 222-236, 2607
58-59, 129-131, 199-200

90-97

144, 174-185
372-381
145-151

193

388-392

60-66, 342-346
285-289

259, 331, 40%
237-23

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